(navigation image)
Home American Libraries | Canadian Libraries | Universal Library | Community Texts | Project Gutenberg | Children's Library | Biodiversity Heritage Library | Additional Collections
Search: Advanced Search
Anonymous User (login or join us)
Upload
See other formats

Full text of "Akai S-3200 XL Owner's Manual"

C/3 



> 




MIDI STEREO 

DIGITAL SAMPLER 



WARNING 



To prevent fire or shock hazard, do not 
expose this appliance to rain or moisture. 



Operator's Manual 



WARNING!! 

To prevent fire or shock hazard, do not expose this appliance to rain or moisture. 



1-En 




CAUTION 



RISK OF ELECTRIC SHOCK 
DO NOT OPEN 




CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK 

DO NOT REMOVE COVER (OR BACK). 
NO USER-SERVICEABLE PARTS INSIDE. 
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. 




THE SYMBOLS ARE RULED BY UL STANDARDS (U.S.A.) 

The lightning flash with the arrowhead symbol superimposed across a graphical 
representation of a person, within an equilateral triangle, is intended to alert the user 
to the presence of uninsulated "dangerous voltage" within the product's enclosure; 
that may be of sufficient magnitude to constitute a risk of electric shock. 

The exclamation point within an equilateral triangle is intented to alert the user 
to the presence of important operating and maintenance (servicing) instructions 
in the literature accompanying the appliance. 



5A-En 



WARNING 



WARNING 

The S3200XL is designed to be used in a standard household environment. 
Power requirements for electrical equipment vary from area to area. Please ensure that your 
S3200XL meets the power requirements in your area. If in doubt, consult a qualified electrician 
or Akai Professional dealer. 



120 VAC 

220-230/240 VAC 
240 VAC 



@ 60 Hz for USA and Canada 
@ 50 Hz for Europe 
@ 50 Hz for Australia 



PROTECTING YOURSELF AND THE S3200XL 

Never touch the AC plug with wet hands. 

Always disconnect the S3200XL from the power supply by pulling on the plug, not the cord. 

Allowonly an Akai Professional dealer orqualified professional engineerto repair or reassemble 
the S3200XL. Apart from voiding the warranty, unauthorized engineers might touch live internal 
parts and receive a serious electrical shock. 

Do not put, or allow anyone to put any object, especially metal objects, into the S3200XL. 

Use only a household AC power supply. Never use a DC power supply. 

If water or any other liquid is spilled into or onto the S3200XL, disconnect the power, and call 
your dealer. 

Make sure that the unit is well-ventilated, and away from direct sunlight. 

To avoid damage to internal circuitry, as well as the external finish, keep the S3200XL away from 
sources of direct heat (stoves, radiators, etc.). 

Avoid using aerosol insecticides, etc. near the S3200XL. They may damage the surface, and 
may ignite. 

Do not use denaturated alcohol, thinner or similar chemicals to clean the S3200XL. They will 
damage the finish. 

Modification of this equipment is dangerous, and can result in the functions of the S3200XL 
being impaired. Never attempt to modify the equipment in any way. 

Make sure that the S3200XL is always well-supported when in use (either in a specially- 
designed equipment rack, or a firm level surface). 

When installing the S3200XL in a 19" rack system, always allow 1U of ventilated free space 
above it to allow for cooling. Make sure that the back of the rack is unobstructed to allow a clear 
airflow. 

In order to assure optimum performance of your S3200XL, select the setup location carefully, 
and make sure the equipment is used properly. Avoid setting up the S3200XL in the following 
locations: 

1 . In a humid or dusty environment 

2. In a room with poor ventilation 

3. On a surface which is not horizontal 

4. Inside a vehicle such as a car, where it will be subject to vibration 

5. In an extremely hot or cold environment 



S3200XL Operator's Manual - Version 1 .00 



WARNING 



WARNING 
THIS APPARATUS MUST BE EARTHED 

IMPORTANT 

This equipment is fitted with an approved non-rewireable UK mains plug. 
To change the fuse in this type of plug proceed as follows: 

1 ) Remove the fuse cover and old fuse. 

2) Fit a new fuse which should be a BS1 362 5 Amp A.S.T.A or BSI approved type. 

3) Refit the fuse cover. 

If the AC mains plug fitted to the lead supplied with this equipment is not suitable for your type of AC outlet 
sockets, it should be changed to an AC mains lead, complete with moulded plug, to the appropriate type. If this 
is not possible, the plug should be cut off and a correct one fitted to suit the AC outlet. This should be fused 
at 5 Amps. 

If a plug without a fuse is used, the fuse at the distribution board should NOT BE GREATER than 5 Amp. 

PLEASE NOTE: THE SEVERED PLUG MUST BE DESTROYED TO AVOID A POSSIBLE SHOCK 

HAZARD SHOULD IT BE INSERTED INTO A 13 AMP SOCKET ELSEWHERE. 

The wires in this mains lead are coloured in accordance with the following code: 

GREEN and YELLOW — EARTH 

BLUE —NEUTRAL 

BROWN — LIVE 

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings 
identifying the terminals in your plug, please proceed as follows: 

The wire which is coloured GREEN and YELLOW must be connected to the terminal which is marked 
with the letter E or with the safety earth symbol ± or coloured GREEN or coloured GREEN and YELLOW. 

The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or 
coloured BLACK. 

The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L 
or coloured RED. 

THIS APPARATUS MUST BE EARTHED 

Ensure that all the terminals are securely tightened and no loose strands of wire exist. 

Before replacing the plug cover, make certain the cord grip is clamped over the outer sheath of the lead and 
not simply over the wires. 

6D-En 



VENTILATION 

Do not prevent the unit's ventilation, especially by placing the unit on the soft carpet, in a narrow space, or by 
placing objects on the unit's chassis— top, side, or rear panels. Always keep the unit's chassis at least 10 
centimeters from any other objects. 

31C-En 



This equipment conforms to No.82/499/EEC, 87/308 EEC standard. 

3A-En 



CONFORME AL D.M. 13 APRILE 1989 DIRETTIVA CEE/87/308 

3B-lt 



S3200XL Operator's Manual - Version 1 .00 



WARNING 



CHANGES OR MODIFICATIONS NOT EXPRESSLY APPROYED BY THE MANUFACTURER FOR 
COMPLIANCE COULD VOID THE USER'S AUTHORITY TO OPERATE THE EQUIPMENT. 

32-En 



FCC WARNING 

This equipment has been tested and found to comply with the limits for a Class B digital device pursuant to Part 
1 5 of the FCC rules. These limits are designed to provide reasonable protection against harmful interference in 
a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not 
installed and used in accordance with the instructions, may cause harmful interference to radio communications. 
However, there is no guarantee that interference will not occur in a particular installation. If this equipment does 
cause harmful interference to radio or television reception, which can be determined by turning the equipment off 
and on, the user is encouraged to try to correct the interference by one or more of the following measures: 

• Reorient or relocate the receiving antenna. 

• Increase the separation between the equipment and receiver. 

• Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. 

• Consult the dealer or an experienced radio/TV technician for help. 

21B-En 



AVIS POUR LES ACHETEURS CANADIENS DU S3200XL 

Le present appareil numerique n'ement pas de bruits radioelectriques depassant les limites applicables aux 
appareils numeriques de la Class B prescrites dans le Reglement sur le brouillage radioelectrique edicte par 
le ministere des Communications du Canada. 

27-F 



This digital apparatus does not exceed the Class B limits for radio noise emissions from digital apparatus set 
out in the Radio Interference Regulations of the Canadian Department of Communications. 

27-En 



FUR KUNDEN IN DER BUNDESREPUBLIK DEUTSCHLAND 

Bescheinigung von AKAI 

Hiermit wird bescheinigt, daB das Gerat AKAI 

S3200XL 
in Ubereinstimmung mit den Bestimmungen der 

Amtsblattverfugung 1046/1984 
funkentstort ist. 

Der Deutschen Bundespostwurde das Inverkehrbringen dieses Gerates angezeigt und die Berichtigung zur 
Uberprufung der Serie auf Einhaltung der Bestimmungen eingeraumt. 
AKAI ELECTRIC CO., LTD. 

17B-G 



COPYRIGHT NOTICE 

The AKAI S3200XL is a computer-based device, and as such contains and uses software in ROMs. 
This software, and all related documentation, including this Operator's Manual, contain proprietary 
information which is protected by copyright laws. All rights are reserved. No part of the software 
or its documentation may be copied, transferred or modified. You may not modify, adapt, translate, 
lease, distribute, resell for profit or create derivative works based on the software and its related 
documentation or any part there of without prior written consent from AKAI Electric Co. Ltd, Tokyo, 
Japan. 

S3200XL Operator's Manual - Version 1 .00 iii 



WARANTY 



WARRANTY 

AKAI Electric Co. Ltd. warrants its products, when purchased from an authorized "AKAI 
professional" dealer, to be free from defects in materials and workmanship for a period of 12 
(twelve) months from the date of purchase. Warranty service is effective and available to the 
original purchase only, and only on completion and return of the AKAI Warranty Registration Card 
within 14 days of purchase. 

Warranty coverage is valid for factory-authorized updates to AKAI instruments and their software, 
when their installation is performed by an authorized AKAI Service Center, and a properly 
completed Warranty Registration has been returned to your "AKAI professional" dealer. 

To obtain service under this warranty, the product must, on discovery of the detect, be properly 
packed and shipped to the nearest AKAI Service Center. The party requesting warranty service 
must provide proof of original ownership and date of purchase of the product. 

If the warranty is valid, AKAI will, without charge for parts or labor, either repair or replace the 
defective part(s). Without a valid warranty, the entire cost of the repair (parts and labor) is the 
responsibility of the product's owner. 

AKAI warrants that it will make all necessary adjustments, repairs and replacements at no cost to 
the original owner within 12 (twelve) months of the purchase date if: 

1) The product fails to perform its specified functions due to failure of one or more of its 
components. 

2) The product fails to perform its specified functions due to defects in workmanship. 

3) The product has been maintained and operated by the owner in strict accordance with the 
written instructions for proper maintenance and use as specified in this Operator's Manual. 

Before purchase and use, owners should determine the suitability of the product for their intended 
use, and owner assumes all risk and liability whatsoever in connection therewith. AKAI shall not 
be liable for any injury, loss or damage, direct or consequential, arising out of use, or inability to 
use the product. 

The warranty provides only those benefits specified, and does not cover defects or repairs needed 
as a result of acts beyond the control of AKAI, including but not limited to: 

1) Damage caused by abuse, accident, negligence. AKAI will not cover under warranty any 
original factory disk damaged or destroyed as a result of the owner's mishandling. 

2) Damage caused by any tampering, alteration or modification of the product: operating software, 
mechanical or electronic components. 

3) Damage caused by failure to maintain and operate the product in strict accordance with the 
written instructions for proper maintenance and use as specified in this Operator's Manual. 

4) Damage caused by repairs or attempted repairs by unauthorized persons. 

5) Damage caused by fire, smoke, falling objects, water or other liquids, or natural events such 
as rain, floods, earthquakes, lightning, tornadoes, storms, etc. 

6) Damage caused by operation on improper voltages. 

IMPORTANT NOTE: This warranty becomes void if the product or its software is electroni- 
cally modified, altered or tampered with in any way. 

AKAI shall not be liable for costs involved in packing or preparing the product for shipping, with 
regard to time, labor, or materials, shipping or freight costs, or time or expense involved in 
transporting the product to and from AKAI Authorized Service Center or Authorized Dealer. 

AKAI will not cover under warranty an apparent malfunction that is determined to be user error, or 
owner's inability to use the product. 

THE DURATION OF ANY OTHER WARRANTIES, WHETHER IMPLIED OR EXPRESS, IN- 
CLUDING BUT NOT LIMITED TO THE IMPLIED CONDITION OF MERCHANTABILITY, IS 
LIMITED TO THE DURATION OF THE EXPRESS WARRANTY HEREIN. 

AKAI hereby excludes incidental or consequential damages, including but not limited to: 

1) Loss of time. 

2) Inconvenience 

3) Delay in performance of the Warranty. 

4) The loss of use of the product. 

5) Commercial loss. 

6) Breach of any express or implied warranty, including the Implied Warranty of Merchantability, 
applicable to this product. 

iv S3200XL Operator's Manual - Version 1 .00 



INTRODUCTION 1 

FEATURES 2 

ABOUT THIS MANUAL 5 

FRONT PANEL 6 

TAKING CARE OF YOUR DISKS 8 

REAR PANEL 10 

SETTING UP THE S3200XL 13 

CONNECTIONS 13 

LOADING THE DEMO FLOPPY DISKS 14 

MOUNTING THE S3200XL 15 

GETTING AROUND THE S3200XL 16 

OPERATING MODES 16 

SOFT KEYS 16 

SELECTING PARAMETERS AND ENTERING DATA 17 

NAMING FILES -THE NAME KEY 19 

THE ENT/PLAY KEY 19 

LCD CONTRAST 19 

RECORD LEVEL, MAIN VOLUME, HEADPHONE OUTPUT 20 

HOW THE S3200XL WORKS 21 

S3200XL FLOWCHART 22 

SINGLE MODE 2 5 

SELECTING PROGRAMS 25 

VIEWING PROGRAMS 26 

SETTING PROGRAM LEVELS, PAN, FX SENDS 26 

SETTING PROGRAMS' MIDI PARAMETERS 27 

SETTING PROGRAM LOUDNESS AND VELOCITY 29 

LOADING FROM FLOPPY DISK 30 

LOADING FROM HARD DISK 31 

DELETING PROGRAMS 32 

RENUMBERING PROGRAMS 34 

USING THE S3200XL IN 'OLD AKAI' MODE! 35 

USING SELECT PROG - PROGRAMS WITH THE SAME NUMBER 35 

LAYERING PROGRAMS 35 

CREATING KEYBOARD SPLITS 35 

USING RENUMBERING TO CREATE MULTI-TIMBRAL SETUPS 36 

SINGLE VS MULTI 37 

MULTI MODE - COMBINING SEVERAL PROGRAMS 39 

ASSIGNING PROGRAMS TO PARTS 40 

SETTING A PART'S MIDI CHANNEL 40 

MIXING THE PARTS 40 

SENDING PARTS TO THE INTERNAL EFFECTS 40 

ASSIGNING PARTS TO THE INDIVIDUAL OUTPUTS 41 

TUNING AND TRANSPOSING PARTS 41 

SETTING A PART'S LOW AND HIGH KEYRANGES 41 

SETTING A PART'S PRIORITY 42 

INITIALISING A PART 42 

SETTING UP A MULTI 43 

MODIFYING THE MULTI 44 

NAMING A MULTI 45 

SAVING A MULTI 45 

LOADING A MULTI 45 

RENUMBERING PROGRAMS 46 

USING MULTI MODE FOR LAYERING PROGRAMS 49 

USING MULTI MODE TO SET KEYBOARD SPLITS 50 

PROGRAM EDITING 5 2 

WHATISAKEYGROUP? 53 

KEYGROUP ZONES 54 

OVERLAPPING AND CROSSFADING KEYGROUPS 55 

ASSIGNABLE PROGRAM MODULATION 56 

EDIT SINGLE 60 

NAMING PROGRAMS - COPYING AND RENAMING 61 

DELETING PROGRAMS 62 

MIDI PAGE 66 

OUTPUT LEVELS PAGE 68 



PAN PAGE 71 

THE TUNE PAGE 73 

MODULATION PAGES 74 

PITCH BEND 74 

LF01 76 

SETTING LF01 MODULATION DEPTH 79 

LF02 80 

SETTING UP THE SOFT PEDAL 83 

PORTAMENTO 84 

KEYGROUP PARAMETERS - CREATING KEYGROUPS 87 

MAPPING OUT YOUR KEYGROUPS- SETTING KEYSPAN 90 

ASSIGNING SAMPLES TO KEYGROUPS AND ZONES - SMP1 92 

SMP2 95 

SMP3 97 

THE FILTERS 98 

ENV1 - SHAPING AMPLITUDE 101 

ENV2 - SHAPING THE FILTER 103 

USING THE FILTER AND ENVELOPE GENERATORS 104 

THE SECOND FILTERS 105 

CREATING 24db/8ve 4-POLE LOWPASS FILTER 109 

THE TONE PAGE 111 

ENV3 113 

KEYGROUP PITCH/AMPLITUDE MODULATION 114 

EDIT MULTI 116 

SCREEN DIFFERENCES IN EDIT MULTI 116 

SAMPLE MODE 118 

WHAT IS SAMPLING? 118 

RECORD MODE 120 

THE MAIN RECORD PAGE 123 

NAMING SAMPLES FOR RECORDING 123 

ADJUSTING THE RECORDING AND THRESHOLD LEVELS 125 

RECORDING ON THE S3200XL 125 

DIGITAL RECORDING 126 

EDIT SAMPLE 128 

NAMING SAMPLES - COPYING AND RENAMING 130 

DELETING SAMPLES 131 

TRIMMING SAMPLES 132 

LOOPING 136 

LOOP AUTO FIND AND CROSSFADE LOOPING 137 

MAKING A GOOD LOOP 139 

LEVEL NORMALISATION 141 

DSP FUNCTIONS - TIMESTRETCH, RE-SAMPLING AND EQ 142 

TIMESTRETCH 142 

PERFORMING A TIMESTRETCH 145 

RE-SAMPLING 146 

PERFORMING A RE-SAMPLE 147 

EQ 148 

EQ'ING A SAMPLE 150 

USING THE EQ 150 

FURTHER EDITING FUNCTIONS 151 

THE PARAMETER PAGE 151 

REVERSING SAMPLES 153 

SECTIONAL EDITING 154 

THE JOIN PAGE 157 

SPLICING SAMPLES 157 

CROSSFADING 158 

MIXING AND LAYERING SAMPLES 158 

SETTING DIGITAL FADES 160 

EFFECTS MODE 162 

ORGANISATION OF EFFECTS FILES 164 

ASSIGNING EFFECTS TO SINGLE PROGRAMS 165 

ASSIGNING EFFECTS TO MULTI PARTS 167 

ASSIGNING EFFECTS TO INDIVIDUAL KEYGROUPS 169 

PROCESSING EXTERNAL SOUND SOURCES THROUGH THE EFFECTS 1 70 



ROUTING EXTERNAL SOUNDS THROUGH THE EFFECTS 171 

SELECTING THE EFFECTS OUTPUT 171 

CHAINING EFFECTS 172 

MUTING EFFECTS 174 

EFFECTS EDIT 175 

DISTORTION/RING MODULATION 176 

EQ 177 

MODULATION EFFECTS 179 

CHORUS, PHASE SHIFT AND FLANGING EFFECTS 179 

ROTARY SPEAKER EFFECTS 181 

AUTOPAN AND FREQUENCY MODULATION EFFECTS 184 

STEREO PITCH SHIFT EFFECTS 185 

BYPASSING THE MODULATION EFFECTS 187 

DELAY AND ECHO EFFECTS 188 

MONO DELAY/ECHO EFFECTS 190 

PING PONG ECHO EFFECTS 191 

CROSSOVER DELAY 192 

STEREO DELAY/ECHO EFFECTS 193 

REVERB EFFECTS 194 

REVERSE REVERB 197 

GATED REVERB 198 

EFFECTS OUTPUT SECTION 200 

EFFECTS DIRECTION 201 

SOLOING THE CURRENT EFFECT 203 

COPYING EFFECTS 204 

COPYING EFFECTS BETWEEN DIFFERENT EFFECTS FILES 204 

SAVE MODE 206 

SELECTING FLOPPY OR HARD DISK 206 

SELECTING THE HARD DISK PARTITION 206 

SELECTING THE HARD DISK VOLUME 206 

SELECTING THE TYPE OF SAVE 206 

SAVING TO FLOPPY DISK 208 

SAVING TO HARD DISK 209 

RENAMING FILES 211 

DELETING ITEMS FROM DISK 212 

HARD DISK CONTROL 213 

FORMATTING A FLOPPY DISK 214 

FORMATTING A HARD DISK 216 

NOTES ON USING EXISTING S1000/S1100 SOUND LIBRARY 217 

LOAD MODE 218 

SELECTING FLOPPY OR HARD DISK 218 

SELECTING THE HARD DISK PARTITION 218 

SELECTING THE HARD DISK VOLUME 219 

SELECTING THE TYPE OF LOAD 219 

LOADING FROM FLOPPY DISK 220 

LOADING FROM HARD DISK 221 

LOADING S900/S950 SAMPLES AND PROGRAMS 223 

LOADING S1000/S1 100 DATA 223 

AUTO LOADING FROM DISK 223 

SEARCHING FOR FILES -USING THE FIND FUNCTION 224 

USING THE TAG DIRECTORY SYSTEM 226 

NAMING TAGS 227 

NOTES ON USING THE TAGGING SYSTEM 227 

HARD DISK CONTROL 229 

IMPORTING SOUNDS FROM OTHER MANUFACTURER'S CD-ROMS 230 

GLOBAL MODE 232 

TUNING THE S3200XL 232 

SETTING THE MASTER OUTPUT LEVEL 232 

MIDI FUNCTIONS 233 

MIDI FILTER 233 

PPM PAGE - MONITORING MIDI 234 

MIDI RECEIVE PAGE -ANALYSING MIDI 234 

TRANSMIT TEST PAGE -SETTING THE ENT/PLAY KEY 235 

MIDI SAMPLE DUMPS 236 



PERFORMING A MIDI SAMPLE DUMP 237 

MIDI VIA SCSI 238 

ME35T DRUM SETTINGS 239 

DAT BACK-UP AND RESTORE 241 

PERFORMING A DAT BACK UP 242 

PERFORMING A DAT RESTORE 242 

STANDARD MIDI FILE - MIDI SONG FILE PLAY 243 

LOADING STANDARD MIDI FILES 244 

USING THE SMF FUNCTION 245 

HARD DISK RECORDING 246 

APPLICATIONS 246 

FORMATTING THE HARD DISK FOR DISK RECORDING 247 

CREATING NEW TAKES 252 

COPYING TAKES 252 

RENAMING TAKES 252 

DELETING TAKES FROM DISK 252 

RECORDING A TAKE 257 

EDITING A RECORDING 260 

PLAYING A TAKE IN THE EDIT PAGE 261 

USING THE EDITING FUNCTIONS 261 

PLAYING TAKES 263 

USING THE PLAY PAGE 265 

EDITING A TAKE FOR SYNCHRONISED PLAYBACK 266 

NOTES ABOUT SYNCHRONISING TO EXTERNAL AUDIO 266 

USING THE SONG MODE 267 

CREATING A SONG 267 

TRIGGERING TAKES FROM MIDI 270 

USING MIDI TRIGGERING 270 

USING THE SONG MODE TO CHAIN TAKES 273 

USING THE NUMERIC KEYPAD IN THE SONG MODE 274 

BLOCK EDITING IN SONG MODE 275 

NAMING SONGS 277 

SAVING A SONG 277 

LOADING A SONG 277 

BACKING UP TAKES TO DAT 278 

RESTORING TAKES BACK FROM DAT TO DISK 279 

SMPTE PAGE - USING CUE LISTS 281 

BLOCKS 282 

THE CURSOR 282 

GETTING AROUND THE CUE LIST -THE NUMERIC KEYPAD 282 

CUE LIST MODES 283 

CREATING AND EDITING CUE LISTS 283 

GRABBING TIMES 287 

SMPTE PAGE 288 

NAMING CUE LISTS 289 

SAVING CUE LISTS 289 

LOADING CUE LISTS 289 



APPENDIX 1 290 

CONNECTING AN EXTERNAL HARD DISK DRIVE 290 

CONNECTING TWO SAMPLERS TO ONE HARD DISK DRIVE 290 

NOTES ON USING HARD DISK DRIVES 291 

SCSI CABLES 291 

TERMINATION 291 

SCSI CABLE LENGTH 292 

APPENDIX 2 293 

DATA COMPATIBILITY ISSUES 293 

SOUND DATA 293 

EFFECTS FILES 294 

MULTIS 294 

ME-35T DRUM SETTINGS 294 

SONGS AND QLISTS 294 

APPENDIX 3 295 

INSTALLING EXTRA MEMORY 295 

INSTALLING MEMORY EXPANSION 295 

APPENDIX 4 297 

S3200XL SYNTHESISER PANEL 297 

APPENDIX 5 298 

MIDI CONTROLLER LIST 298 

SPECIFICATIONS 303 

S3200XL MIDI IMPLEMENTATION CHART 304 



INTRODUCTION 



Welcome to the Akai S3200XL stereo digital sampler and thank you for buying it! 

The S3200XL features 32-voice polyphony, expandable memory, DSP functions, etc., and 
using the S3200XL's resonant lowpass filters, multiple LFOs, envelope generators and 
extensive modulation possibilities, your new sampler can double as a first class synthesiser as 
well. 

Certain new functions are introduced in the S3200XL In software, the new MULTI mode of 
operation simplifies multi-timbral sequencing and layering. The S3200XL also includes a multi- 
effects processor that offers no less than four channels that include two multi-effects channels 
with distortion, EQ, ring modulation, modulation effects such as chorus, flanging, pitch 
shifting, auto panning and rotary speaker effects plus delay and reverb. Two 'spare' channels 
of reverb are also available providing a total of four reverbs. Also included is a second bank of 
multi-mode resonant filters for sophisticated tonal processing. 

Bundled with the S3200XL is a software application for the Macintosh™ computer that allows 
you to operate the sampler from your Macintosh allowing large screen operation of waveform 
and program editing, sophisticated organisation of your sound library on the Macintosh as well 
as the ability to integrate your sampler more conveniently with your computer sequencer. 

Naturally, all sound library developed for the Akai S900, S950, S1000, S1100, S2000 and the 
S3000 range of samplers is compatible in the S3200XL giving you access to thousands of 
sounds on floppy disk, hard disk, removable cartridges, MO disks and CD-ROM. The ability to 
read CD ROMs made for other manufacturer's samplers gives access to an even further range 
of sounds. 



S3200XL Operator's Manual - Version 1 .00 Page 1 



INTRODUCTION 



FEATURES 

Polyphony 



A-D Conversion 
Internal processing 
D-A Conversion 

Sampling rates 
Phase locked stereo 
Internal memory 
Sampling times 

Inputs 
Outputs 

Display 
Digital I/O 
Effects 



DSP Functions 
Filters 

Envelopes 
LFOs 

Legato mode 

Portamento 
Sound library 



32 voices 

16-bit stereo with 64-times oversampling 

28-bit accumulation 

20-bit with 8-times oversampling (L/R outputs) 
18bit with 8-times oversampling (individual outputs) 

44.1 kHz/22. 050kHz 

sampling and playback 

16Mbytes standard, expandable to 32Mbytes using SIMMs 

1 6Mbytes 2.97 minutes mono @ 44.1 kHz 

32Mbytes 5.94 minutes mono @ 44.1kHz 

(Halve these times for stereo sampling) 

L/Mono and R jack inputs 

L/R stereo jack outputs 

8 assignable individual outputs 

Stereo headphone jack output 

40 x 6 character backlit LCD with graphic waveform editing. 

Digital audio input/output. 

4-channel multi-effects processor offering two channels of 
simultaneous distortion, four-band EQ, ring modulation, 
modulation (chorus, phase shift, flanging, pitch shift, autopan 
or rotary speaker), stereo delay and reverb plus two 'spare' 
channels of reverb (four reverb processors in total). 

Timestretch, re-sampling and digital EQ. 

2-pole (12dB/Octave) resonant lowpass per voice. 

2nd bank of 2-pole resonant multi-mode (HP, BP, LP, EQ) 
filters and tone control. 

1 x ADSR and 2 x multi-stage envelope generators. 

2 x multi-wave low frequency oscillators (triangle, square, 
sawtooth and random waves). 

Single trigger playback to emulate old monophonic synths 
and solo instruments' playing styles. 

Polyphonic and monophonic portamento. 

Fully compatible with Akai S900, S950, S1000, S1100, 
S2800, S3000, S3200, S2000 and S3200XL. The S3200XL 



Page 2 



S3200XL Operator's Manual - Version 1.00 



INTRODUCTION 



Data storage 



Flash ROM 



Disk recording 
SMF capability 

DAT Backup 
Real-time digital output 



OPERATING MODES 

SINGLE 

MULTI 

SAMPLE 
EFFECTS 
EDIT 
GLOBAL 

SAVE 
LOAD 



can also read CD-ROMs made for other manufacturer's 
samplers 1 . 

A variety of storage devices may be used to store data 
including floppy disk, hard disk, Syquest™ removable 
cartridges and Magneto Optical (MO) disks. Hard disk data may 
be backed up to a normal DAT tape using the digital i/o. 

You may install up to 16Mbytes of FLASH ROM over and 
above the 32Mbytes of ordinary RAM giving you a total of 
48Mbytes of memory. FLASH ROM allows you to keep your 
favourite sounds in memory even when the sampler is 
switched off. 

Capable of stereo recording and editing on hard disk. 

The S3200XL can play Standard MIDI files (sequences) from 
the floppy disk drive. This allows you, for example, to play 
sequenced backing tracks directly from the S3200XL. 

You can backup the hard disk (sound data and/or disk 
recordings) to an ordinary DAT recorder. 

This digital audio output can be used to mix down digitally to 
DAT or any other digital recorder such as DCC, MiniDisk or a 
hard disk recorder such as the Akai DR4d, DR8 or even the 
S3200XL's disk recorder. Using the internal multi-effects 
processor, you may add four channels of effects processing 
to the mixdown. 



For playing single programs. 

For playing up to 16 programs together for multi-timbral 
sequencing, layering and key splits. 

For making recordings. 

For selecting effects. 

For editing programs, samples and effects. 

For setting parameters that affect the sampler as a whole plus 
access to utilities such as DAT backup, MIDI song file play and 
hard disk recording 

For saving programs, samples, multis, effects and operating 
systems, etc., to floppy or hard disk. 

For loading programs, samples, multis, effects, operating 
systems, etc., from floppy or hard disk and CD-ROM. 



1 Some sounds may need adjustment and 'tweaking' depending on the sampler they were 
originally created on. 



S3200XL Operator's Manual - Version 1.00 



Page 3 



INTRODUCTION 



EDITING FEATURES 
EDIT SAMPLE 

EDIT PROGRAM 



MULTI 



EFFECTS 



Trim, Loop (with FIND and CROSSFADE functions), Join, 
Merge, Splice, Chop, Extract, Reverse, Gain normalisation, 
Timestretch, Re-sample. 

Resonant lowpass filters, 2nd bank of resonant multi-mode 
filters, ADSR envelope generator (with templates), 2 x multi- 
stage envelope generator (with templates), 2 x multi-wave 
LFOs, sample layering, 4-way velocity crossfade and 
switching, keygroup crossfade, portamento (rate and time 
modes), monophonic legato triggering, mute group function, 
panning and autopanning, held pitchbend mode, separate 
pitchbend up/down ranges, output selection. 

Part select, program select, MIDI channel, level, pan, 
transpose, fine tune, output routing, FX routing, FX send, low 
key range, high key range, note priority. 

In the two multi-effects channels: 

DISTORTION - distortion, level 

EQ - low gain, mid 1 gain, mid 2 gain, high gain, 

RING MODULATION - frequency, depth 

MODULATION EFFECTS - chorus, flange, phase shift, rotary 
speakers, autopan/frequency mod, pitch shift with parameters 
as appropriate. 

DELAY - effect select (mono, stereo, ping pong), delay times, 
feedback. 

REVERB - effect select (large hall, small hall, large room, small 
room, gated, reverse, etc.), size, decay time, HF damping, LF 
damping, pre-delay. 

FX DIRECTION: 

dist/EQ/ring mod > mod/delay + reverb (parallel) 
dist/EQ/ring mod > mod/delay > reverb (series) 
dist/EQ/ring mod > reverb > mod/delay (series) 

In the two reverb channels: 

Effect select (large hall, small hall, large room, small room, 
reverse, gated, etc.), decay time, HF damping, LF damping, 
pre-delay, diffusion. 

A multi-effects channel may also be routed to its 
'neighbouring' reverb channel for dual reverb multi -effects. 



Page 4 



S3200XL Operator's Manual - Version 1.00 



INTRODUCTION 



ABOUT THIS MANUAL 

This manual has been written to allow you to get the most out of your new sampler. Please take 
the time to read it as a fuller understanding of the instrument will enable you to use the 
S3200XL's remarkable facilities to the full. Not only are the controls and screens explained in 
detail but you will find hints and tips to help you with your sampling and programming. If you are 
new to sampling or synthesisers, some of the sections explain the basic principles behind the 
techniques employed in the S3200XL so if words like "bandpass", "modulation", "diffusion", 
"multi-timbral" and "sample rates", etc., are unfamiliar to you, we hope that this manual is not 
just a boring explanation of functions but something you can refer to for information beyond 
the scope of the S3200XL. Even if you're a seasoned programmer, we hope that there is 
information in this manual that you find useful.. 



S3200XL Operator's Manual - Version 1 .00 Page 5 



INTRODUCTION 



FRONT PANEL 

FLOPPY DISK DRIVE 
DISPLAY CONTRAST \ 
AKAI 



O 



POWER SWITCH 



RECORD LEVEL MAIN VOLUME 
DATA ENCODER \ \ HEADPHONE 




FOOTSWITCH 



MO DRIVE SLOT 



MODE KEYS NUMERIC KEYPAD 

MARK/JUMP, NAME, ENT KEYS 



MODE KEYS 
'SOFT' KEYS 

LCD 

CURSOR KEYS 

DATA ENCODER 

NUMERIC KEYPAD 
MARK/JUMP 

NAME KEY 

ENT/PLAY KEY 

RECORD LEVEL 
MAIN VOLUME 



Selects the operating mode for the sampler. 

These select functions displayed on the LCD above. They 
have no fixed function but change according to the page 
currently displayed on the screen. 

The 40 x 8 character display shows parameters and values 
and displays the 'soft' keys' function and graphic display of 
waveforms for sample editing, etc.. 

This block of keys moves the cursor up, down and left and 
right around the screen. 

Allows you to enter data values and for scrolling through lists, 
etc.. 

This is used to enter data numerically. 

These keys allow you to mark two functions and switch 
between them using the JUMP key. In this way, it is quick and 
easy to enter data even across two different screens. 

This takes you the 'naming mode' where you may name 
samples, programs, effects, etc.. 

Allows you to play a sound without the need for a MIDI 
controller to be connected. 

Sets the record level for the analogue inputs. 

The MAIN VOLUME control sets the main output level of the 
L/R stereo outputs (this control does not affect the level of 



Page 6 



S3200XL Operator's Manual - Version 1.00 



INTRODUCTION 



POWER SWITCH 
PHONES 

FOOTSWITCH 



the signal appearing at the individual outputs or digital 

output). 

Applies power to the S3200XL. 

This stereo jack socket allows you to monitor the L/R (stereo) 
output of the S3200XL through stereo headphones. The 
level is regulated using the MAIN VOLUME control (see 
above). 

The FOOTSWITCH input is actually two switch inputs using a 
stereo jack. One input is used for sustain and for initiating 
sampling (see later) and the other is used for the soft pedal 
(MIDI controller 67). The wiring of the plug is as follows: 



RING - SOFT PEDAL 



TIP - SUSTAIN/SAMPLING 



GROUND 



DISPLAY CONTRAST 



MO DRIVE SLOT 



FLOPPY DISK DRIVE 



Both require a press-to-open type of switch. 

Sets the viewing angle for the LCD. You will note that 
pressing this control in switches off the LCD's backlight thus 
preserving the life of the LCD (think of it like a 'screen saver' 
on a computer. 

You may install a 3.5" Sony 650Mbyte Magneto Optical (MO) 
drive here (please consult your dealer about this option). 

The 3.5 inch floppy disk drive will accept high density and low 
density disks. Disks are inserted into the drive thus: 



DISK ACTIVITY LED 



WRITE PROTECT TAB 



HIGH DENSITY 
DETECTION TAB 




DISK EJECT BUTTON 

The label should be facing towards the screen and panel 
controls when it is inserted (actually, it is physically impossible 
to insert disks the wrong way round without using an extreme 
amount of brute force!). 



S3200XL Operator's Manual - Version 1.00 



Page 7 



INTRODUCTION 



To eject the disk, simply press the DISK EJECT button. When 
a disk is loading, saving or formatting, the DISK ACTIVITY LED 
will be lit. 

It is important to remember that, unlike a synthesiser, the 
S3200XL has no means of storing sounds in an internal 
memory. As a result, it is vital that you save your work to disk 
before turning the power off otherwise you will lose your work 
and, unless previously saved, it will be gone for ever. In fact, it 
is a good idea to regularly save your work as you are working. 
All good computer users do this and it prevents the accidental 
loss of data should power be accidentally removed from the 
instrument. This also serves as a form of 'undo' - if you make 
some kind of mistake in your programming and editing and 
can't fix it, you can load the last level of editing back into the 
sampler. It may be a bit tedious to keep stopping every now 
and then to save your work but it is better than losing some 
valuable sounds. 

TAKING CARE OF YOUR DISKS 

These floppy disks contain valuable sound data and, as such, should be treated with extreme 
care. Please observe the following points, therefore: 

1 Never slide the metal cover back and touch the disk. Finger marks may render the disk 
unreadable. 

2 Don't leave the disk in the drive wherever possible. When the disk is in the drive, the metal 
protective cover slides back exposing the actual disk inside - this makes the disk 
susceptible to picking up dust which may cause read errors. 



Do not leave your disks in a hot car. 



Do not place your disks next to any magnetic sources such as speakers, amplifiers, 
televisions, etc.. Also, try to avoid X-ray machines. At airports, it is sometimes possible to 
ask for your disks to be inspected by hand at security desks but, with the added security at 
airports these days, this may not be possible. Always check with the security officer 
though, just in case. Security X-ray machines are generally safe with disks, though. If in 
doubt, make backup copies which should be left at home. 



NOTE: Some checked-in luggage is X-rayed by quite powerful machines that are not as safe 
as those that check hand luggage. It is probably best to take your disks as hand luggage. 



5 Do not leave your disks around when drinking liquids - one accidental spillage could ruin a 
lot of work! 

6 Always use high quality disks. Whilst cheap ones may be appealing, they are prone to 
errors more than good ones. 

7 Try to ensure that the write protect tab is switched on (i.e. the tab does not block the hole). 
This will prevent accidental erasure, formatting and loss of data. It may be a nuisance to try 
to write to the disk and find it write protected but it is less of a nuisance than accidentally 
over-writing a set of your favourite samples and programs! 

8 Try to get into the habit of labelling your disks - it will pay dividends in the end when you are 
searching for something. 



Page 8 S3200XL Operator's Manual - Version 1 .00 



INTRODUCTION 



9 Invest in a sturdy carrying case for your floppies especially if you are a gigging musician. 
Heavy duty metal camera cases are ideal and some flight case manufacturers now make 
special heavy duty disk flightcases. 

1 Even if you are using a hard disk of any sort, please make sure you have backed up your 
work to floppy disks. It can be time consuming but it will be worth it if you ever have a 
problem with your hard disk! 



S3200XL Operator's Manual - Version 1 .00 Page 9 



INTRODUCTION 



REAR PANEL 



INDIVIDUAL OUTPUTS MIDI IN/OUT/THRU FAN FOR OPTIOAL MO DRIVE 




L/R OUTPUTS SCSI DIGITAL I/O 

ANALOGUE INPUTS SMPTE I/O POWER CONNECTION 



ANALOGUE AUDIO INPUTS 



Two parallel pairs of stereo balanced connectors are provided 
for connection of sound sources (wired in accordance with 
American standards - 1 -shield, 2-cold, 3-hot), and the other 
pair is a pair of balanced jack connectors using stereo jack 
sockets. Unbalanced sources can, of course, be connected 
to the XLR inputs. If a mono source is used for sampling, use 
only either the LEFT (MONO) XLR or phone connector. 



NOTE: The XLR connector and phone jack on the analogue inputs are connected in parallel. 
When inputting an analogue signal, use only one pair of them. 



Associated with the analogue inputs is a 3-position slider 
switch (LOW, MID, HIGH) used for matching the level of the 
input source to the recording amplifier of the S3200XL. Fine 
adjustment should be carried out with the REC LEVEL control 
on the front panel. Ideally, you should set the REC GAIN so 
that the REC LEVEL is set about 2 o'clock. Remember that 
unlike analogue equipment, digital devices produce distortion 
which is particularly unpleasant, and "soft clipping" and the 
effect of saturation found in analogue recordings cannot be 
obtained when recording digitally. You should always allow 
sufficient headroom for transient peaks when making a 
sample. 

Note also, that recording at too low a level will not allow you to 
make full use of the S3200XL's dynamic range and signal to 
noise figures. 



NOTE 1: When making a sample, you may not immediately notice any clipping that may have 
resulted from incorrect level settings and it may only become apparent when playing back 
samples lower than the original pitch at which they were sampled. 



Page 10 



S3200XL Operator's Manual - Version 1.00 



INTRODUCTION 



NOTE 2: If you set the level too low, the S3200XL's EDIT SAMPLE pages have a GAIN 
NORMALISE function that allows you to restore the sample to its optimum level for full use of 
the sampler's wide dynamic range. 



INDIVIDUAL OUTPUTS 



The REC GAIN sensitivities are HI -58dBm, MID -38dBm, LOW 
- 18dBm. 

There are eight individual audio connectors provided. Use of 
the INDIVIDUAL OUTPUTS (CH1 through CH8) allows much 
more flexibility and control (but of course, this will take up 
more input channels on the mixing console). Programs can be 
assigned to any one of these output channels and effected 
separately. Individual keygroups may also be routed via these 
outputs so that in drum programs, individual drum and 
percussion sounds may have their own channels on an 
external mixing console. 



NOTE: Programs using stereo samples should be sent to the individual outputs at the 
key group level - i.e. the left samples should go to one output and the right samples to another 
(usually adjacent) output. 



L/R OUTPUTS 



DIGITAL I/O 



The S3200XL uses remote ground sensing circuitry so that 
the unbalanced outputs are protected against the possibility 
of ground or earth loops that can sometimes occur in 
complicated setups where a lot of equipment is connected. 

There are two LEFT/RIGHT connections available - one set is 
a pair of unbalanced jack sockets, the other a pair of balanced 
XLR connectors for outputting the main stereo mix from the 
S3200XL. When connecting to two channels of a mixing 
console, remember to pan the mixer channels hard left and 
right to enjoy the full stereo effect. 

The digital input can be used to record digitally from CD or 
DAT or any other audio source that has a digital output. 

The digital output carries a digital clone of the main stereo 
outputs complete with the effects so you may also mixdown 
digitally from the S3200XL to any digital audio recorder such 
as DAT or a hard disk recorder/editor such as the Akai DR4 or 
DR8 thereby ensuring the highest quality audio during 
mixdown. 



SCSI 



The digital i/o is also used to back data up to a normal DAT 
tape. 

This is used to attach hard disks, CD-ROMs, Magneto Optical 
(MO) disks and removable cartridges to the S3200XL for data 
storage and retrieval. You may also connect the S3200XL to a 
Macintosh™ computer for use with the editing software that is 
bundled with the S3200XL. 



SMPTE IN/OUT 



These connectors are used to input and output SMPTE/EBU 
timecode. These are used when synchronising a Qlist to 
timecode. The connectors are 6.35 mm stereo (balanced) 
phone jacks. 



S3200XL Operator's Manual - Version 1.00 



Page 1 1 



INTRODUCTION 



MIDI 



Your MIDI controller (keyboard, drum pads, EWI, etc.) should 
be connected to the MIDI IN. The THRU socket carries a 
duplicate of the MIDI IN signal 'thru' to other modules or MIDI 
devices that may be connected. The OUT is normally only 
used to transmit MIDI System Exclusive data to another Akai 
sampler or to a computer. 



POWER CONNECTION 



This should be connected to an AC power source. 



** IMPORTANT NOTE ** 

BEFORE CONNECTING ANY AC POWER, PLEASE ENSURE THAT YOUR 

UNIT IS DESIGNED FOR YOUR AREA'S POWER SUPPLY. A MISTAKE NOW 

COULD RUIN YOUR WHOLE DAY NOT TO MENTION YOUR S3200XL!!! 



Page 12 



S3200XL Operator's Manual - Version 1.00 



INTRODUCTION 



SETTING UP THE S3200XL 

This short section tells you how to get 'up and running' fast. For full details of operation, please 
refer to the appropriate section in this manual. 



CONNECTIONS 

Don't switch the S3200XL on for the moment. 



L/R OUTPUTS 



SCSI 



IND OUTS - to mixer 



HARD DISK, 

CD-ROM, 

MO DRIVE, etc.. 



:DI 



[I I) Q e e 






MIDI IN 
MIDI OUT 



t 1 DIGI I/O 



DAT 



DDDD 



GzzDeD d 



DDDDDDDDDD 
DDDDDD D D D DDDDDDDDDD 



Connect the MIDI output of your MIDI controller (in this example, an Akai MX1000 master 
keyboard) to the MIDI input of the S3200XL. Connect the L/R audio output to a stereo amplifier 
(or use the L/MONO output of the sampler if you only have a mono amp) or to two channels of a 
mixer (remembering to pan each channel hard left and right accordingly to take full advantage 
of the S3200XL's stereo outputs). The digital i/o can be connected to a DAT machine (or any 
other digital recording device) or you could leave the digital outputs of a CD player connected 
to the S3200XL's digital input for sampling from the many special sampling CDs that are 
currently available.. 

Before turning on the sampler, it's a good idea to turn its volume down or to turn the volume 
down on the amplifier or the mixer channels as the power up 'thump', although very slight, 
could damage sensitive speakers, especially if the amp is turned up loud. Now turn on the 
S3200XL. You will see a message in the LCD informing you of what is going on. After 15 
seconds or so, your S3200XL is ready for use. Turn the volume up on the sampler, amplifier 
and/or mixer. 



Making sure that the MIDI controller is sending data on MIDI channel 1 , play a few notes. You 
will hear the oh so impressive test tone! Hardly inspiring is it? We want something a bit more 
interesting than that. 



NOTE: If no sound appears, check your MIDI connections and check that your MIDI controller 
is sending MIDI channel 1. If, after this, you still hear no sound, try pressing the E NT/PLAY key 
on the S3200XL's front panel. If you hear a sound, then at least your audio connections are 
o.k. and it's the MIDI that needs attention. If you still don't hear a sound when you press the 
ENT/PLAY key, check your audio connections, volume controls, etc.. 



S3200XL Operator's Manual - Version 1.00 



Page 13 



INTRODUCTION 



LOADING THE DEMO FLOPPY DISKS 

To get you started, some sounds are provided on floppy disk. 

To load the sound library disk, insert it into the drive and press the LOAD key. Now simply 
press F7 - CLR. You will receive a prompt asking you if you want to clear the entire memory. 
Respond by pressing F8 - YES 

The library disk supplied comes with several programs. In SINGLE mode, these may be 
selected from the S3200XL's front panel using the DATA wheel or alternatively, you may use 
MIDI PROGRAM CHANGE commands from your MIDI controller to select new programs. 

You will also note that they are laid out in a MULTI for multi-timbral sequencing. You may use 
this to play the demo sequence that is also supplied on floppy disk with the S3200XL. 

To play the demo sequence on the S3200XL, assuming the sound data disk has been loaded, 
follow the procedure below. 

1 Insert the DEMO SEQUENCE floppy disk into the disk drive. 



2 In GLOBAL mode, press EmM (F5) to get to the MIDI SONG PLAY page and press 
(F2) to get to the LOAD page for song files. 

3 Select and load a MIDI song file from the file list. You can load as many files as you like as 
long as there is enough memory space. 

4 Once the files are loaded, press EM £HUF1 ) to return to the MIDI SONG PLAY page. Select 
the file you wish to play and press IFLRYI (F7) to play the selected MIDI song file. Press 
ISTPFl (F8) to stop playback. 



If you have owned an Akai sampler before, you may also have other sounds on CD-ROM or 
hard disk. Operation is virtually identical to the S3000 series and the S1000/S1100. To load 
sounds from hard disk, press the LOAD key and select HARD at the top of the screen. Move 
the cursor to the volume name field and select the volume you wish to load. Press F7 - CLR - 
followed by F8 - YES - to clear the current contents of memory and load the entire hard disk 
volume. If you have not used an Akai sampler before and you need more detailed information 
on loading from hard disk or CD-ROM, please see the section LOAD MODE. 

However you load sounds, whether it's from floppy disk, hard disk, cartridge or CD-ROM, just 
load them and enjoy playing with your new sampler. Although we suggest you read the 
operator's manual thoroughly, of course, at this stage, you don't want be bothered with that so 
just experiment and get a feel for the S3200XL. As long as you don't press the SAVE key and 
accidentally overwrite your floppy disk or hard disk volume, you can't damage your sounds 
permanently or come to any harm (you can't damage a CD-ROM as it's a read only device). If 
you do start messing with the samples and programs and don't like the results, simply re-load 
the sounds in or load another bunch of sounds to play with. 



Page 14 S3200XL Operator's Manual - Version 1.00 



INTRODUCTION 



MOUNTING THE S3200XL 

If you plan to rack mount the S3200XL, try to leave some 'breathing space' around it to prevent 
overheating. It is recommended you leave 1 U of rack space above and below the sampler. 

If you are placing the sampler on a table, make sure that the table is sturdy and that the sampler 
is not positioned precariously. 

If you are using the S3200XL with a hard disk device of any kind, the disk drive MUST be 
mounted horizontally. If the disk drive is at an angle, even a slight one, you may have 
unreliability problems and even data corruption. 

If you are planning to rack mount the hard disk with the sampler, it is recommended you use the 
'padded' type of rack mount adapter available from most manufacturers of rack and flight cases 
especially if you are likely to be travelling a lot with the set-up. The padding will help protect the 
disk drive's delicate head mechanism against shock and excessive vibration. 

It goes without saying that the S3200XL and the disk drive are delicate pieces of precision 
electronics and they don't take kindly to being thrown around however sturdy your flight case 
might be! 



S3200XL Operator's Manual - Version 1.00 Page 15 



INTRODUCTION 



GETTING AROUND THE S3200XL 

The S3200XL is pretty straightforward to use. Basically, it operates in different 'modes' which 
are selected according to what it is you want to do. In these modes, you navigate your way 
around the functions using the soft keys. You move around the screens using the CURSOR 
keys and data is entered either using the DATA wheel or numerically from the numeric keypad. 

OPERATING MODES 

The S3200XL has various modes in which it works and these are selected using the eight large 
mode keys found beneath the floppy disk drive. Each key is illuminated to indicate the 
sampler's current status. 



SINGLE/i MULTI/j SAMPLE/k EFFECTS/l EDIT/m GLOBAL/n SAVE/o 



LOAD/ p 



□ □□□□□□□ 



These modes are: 

SINGLE For playing single programs. This mode is best suited for 'playing' the sampler 

(i.e. performing a piano solo or whatever) although it can also be used when 
sequencing a single sound from the S3200XL. 

MULTI For playing up to sixteen programs together. Typically, this mode would be 

used for multi-timbral sequencing by setting each 'part' to a different MIDI 
channel but it can also be used for layering and creating key splits by setting 
two or more parts to the same MIDI channel. 

SAMPLE For making recordings. 

EFFECTS For selecting effects to assign to single programs or to parts in a multi. 

EDIT Puts the sampler into edit mode for any of the four modes described above. 

For example, EDIT SINGLE allows you to edit single programs; EDIT MULTI 
allows you to edit the program in the currently selected part; EDIT SAMPLE 
allows you to edit the recording you have just made (or samples currently in 
memory, of course); EDIT EFFECTS allows you to edit the parameters of the 
effects processor. 

GLOBAL Allows you to set certain 'global' settings that affect the S3200XL as a whole 

such as MIDI channel, SCSI ID, output level, overall tuning, etc.. It also gives 
access to utilities such as disk recording, MIDI song file playback, importing 
'foreign' CD-ROMs from other manufacturers, etc.. 

SAVE For saving data to floppy or hard disk. 

LOAD For loading data into the sampler. 

SOFT KEYS 

The SOFT KEYS directly under the LCD call up various functions and pages within each mode 
- these vary from mode to mode and have no pre-defined function. As such, they cannot be 
easily explained here! 



SCREEN FUNCTION 



ES3 



issa 



EH3 



EJH 



U3B 



BZH 



E3BI 



□□□□□□□□ 



Page 16 



S3200XL Operator's Manual - Version 1.00 



INTRODUCTION 



There are many common keys in many of the functions, however, such as, for example, COPY, 
RENAME and DELETE which are always on F6, F7 and F8 in those pages where they appear. 
Commands such as GO, and ABORT always appear on F7 and F8. There is also a convention 
to the type of functions available which is worth noting. 



If a key has this highlighted type of display: M3SS then this signifi es that pressing this key will 
take you to another page. If the key has this type of display: ICQFYI (i.e. the function simply has 
a box around it and is unhighlighted) then this signifies that the key is an 'do it' key and will 
instigate some kind action such as SAVE, LOAD, DELETE, GO, ABORT, etc.. 

If the key has no form of box around it and is not highlighted - i.e: REC, then this indicates the 
page you are currently in although this is always shown in the top left corner of the display as 
well. This type of key switches between two types of display - pressing it once displays note 
names, pressing it again displays notes as MIDI note numbers. 

SELECTING PARAMETERS AND ENTERING DATA 

You move around the screen using the CURSOR KEYS and data is input either from the DATA 
ENTRY ENCODER or from the NUMERIC KEYPAD. You may move around within digit fields 
using the +/< and -/> keys found on the numeric keypad. 

DATA 




7/Q 



8/R 



9/s 



ZZ ZZ 



CURSOR 



4/T 



5/u 



1/w 2/x 

ZZ ZZ 

0/z +/<] 

ZZ ZZ 



6/v 



3/Y 



-/> 



On simple fields like filter cutoff, attack time, MIDI channel, etc., that have two digits, you may 
simply type in a two digit number - i.e. 23, 45, etc.. On such fields, you will find that the DATA 
ENTRY ENCODER will cover the whole range quite quickly so you may find that more 
convenient. The same is true of three digit fields. Turning it clockwise increases numeric 
values, and turning it counter-clockwise decreases these values. You may also use the +/< 
and -/> keys to position the cursor on the 'tens' or 'hundreds' field to make more rapid 
changes. For non-numeric values (i.e. sample rates, sample type, loop type, etc.), turning the 
encoder will display all the options in order. Normally, there is no other entry procedure 
required; simply displaying the correct value of a parameter using the DATA encoder selects 
and stores it into the S3200XL's memory. Our sound programmers at Akai usually use a 
combination of the numeric keypad and the DATA WHEEL for speedy input of parameter 
values. 



S3200XL Operator's Manual - Version 1.00 



Page 17 



INTRODUCTION 



When editing numeric parameters, some of the values can be quite large, and it would be 
necessary to turn the DATA WHEEL thousands of times (literally!) in order to go through the 
whole range if the value was only changed by 1 for every click of the DATA control. There is an 
alternative to turning the control thousands of times, though. When you press the CURSOR 
keys, you move from one parameter to another and, using the +/< and -/> keys, you may move 
around within a large numeric field. 

If a number such as 123456.78 is displayed, and the +/< key is pressed so that only the first 
three digits are highlighted thus: 

Turning the DATA ENTRY ENCODER clockwise by one step now will increase the value of the 
last highlighted digit, so: 

[KI456.78 

Now if the -/> key is pressed once, the first four digits will be highlighted: 

[KH56.78 
and turning the DATA ENTRY ENCODER one click clockwise will produce: 

>.78 



If you turn the DATA control more than ten clicks, of course, the value of the whole parameter 
will be incremented or decremented by the number of clicks. In this way, with very little effort, 
fast accurate editing of numbers can be achieved using only the +/< and -/> keys and the 
DATA ENTRY ENCODER. The best way to learn how this works is to practise; after a short 
time, it should become second nature. 

On 'signed' fields (that is, fields that have a + or a - before them), the +/< and -/> will do two 
things. Pressing the +/< key will move the cursor left within the field and, when it reaches the 
furthermost left digit, you may use it to switch between + and - depending on the selection you 
wish to make. The -/> key will move the cursor right and, when it reaches the furthermost right 
digit you may toggle between + and - again. 

As mentioned above, as an alternative to turning the DATA control, you can also use the 
numeric keypad for direct entry of data. When you know the exact number you want to enter, 
this can be faster than using the DATA control, but when experimenting (for example, when 
setting loop points or sample start and end times), the DATA control may be faster than the 
numeric keypad. You'll probably discover quickly what method works best for you in each 
situation. 

NOTE: The cursor always stays on the last currently selected field in any screen. For example, 
if you are in, say, the filter pages and are setting envelope 2's depth and then go to the ENV2 
page to make an adjustment there, when you return to the filter page, the cursor will still be on 
envelope 2's depth parameter. 



MARK AND JUMP KEYS 

These two grey buttons to the right of the number keypad are used in conjunction with each 
other. 

MARK/# 



JUMP/. 

CZI 



Page 18 S3200XL Operator's Manual - Version 1.00 



INTRODUCTION 



If you are carrying out editing operations which require changing display pages a lot, these can 
save a lot of time and effort. Pressing the MARK/# button when the cursor is on a field will 
cause the S3200XL to remember the position of the cursor, and pressing JUMP/, will take the 
cursor back to the MARK(ed) position from any other page. Pressing JUMP/, again will take 
you back to the page and function you were at before you JUMP(ed). 

You can reset the MARK position at any time. This position is lost when the power is turned 
off. At power-on, this position defaults to the program select field in the initial SINGLE mode. 

NAMING FILES - THE NAME KEY 

When samples, programs, effects or drum input settings are changed, they should be given a 
name for easy reference. 

NAME 



Pressing the NAME button in certain pages will enable you to name the data and you will notice 
that each button has a letter following its primary function (i.e. SAMPLE/K, F4/D, LOAD/P). Up 
to 12 characters (uppercase only) are entered by pressing the front panel buttons (although 
you may also scroll through letters and numbers using the DATA control). When actually 
entering names, pressing the NAME button will switch the function of the numeric keypad 
between letters and numbers. The CURSOR keys moves the cursor around inside the name 
field when naming a sample or program. 

When entering names in letter mode, the +/< and -/> buttons work as backspace and space- 
bar buttons respectively (when in number mode, they enter the "+" and "-" characters), and the 
MARK/# and JUMP/, keys enter "#" and "." respectively. The last button, ENT/PLAY, enters 
and confirms the name and the S3200XL prompts you to either copy or rename the item. 

THE ENT/PLAY KEY 

Underneath the NAME key, you will see the ENT/PLAY key: 

ENT/PLAY 



This is a dual-purpose button. When naming samples, programs, etc., pressing this button will 
end the naming process in conjunction with COPY and REN(ame) as described above. In 
other modes of operation, this key will play the sound at a pitch, velocity and MIDI channel as 
set in the GLOBAL mode. The default may be freely set as you wish. 



NOTE: When editing samples in EDIT SAMPLE, pressing this button will play back the sample 
at its correct pitch and not necessarily the one set in the GLOBAL pages. 



LCD CONTRAST 

On top of POWER switch, you will find the DISPLAY CONTRAST CONTROL: 

DISPLAY 
CONTRAST 

O 

PUSH ON/OFF 

You may adjust the viewing angle for the screen using the DISPLAY CONTRAST control. 



S3200XL Operator's Manual - Version 1.00 Page 19 



INTRODUCTION 



NOTE: To preserve the life of your LCD, this control also has a switch which you can use to 
turn the backlight of the LCD on or off. At times when you are not actively using the S3200XL's 
front panel for programming (i.e. when actually sequencing or recording to tape, for example, 
or when using the sampler live on stage), you might like to switch this off. All LCD's of this type 
progressively get dimmer with age and this switch can help prevent this. The switch should be 
pushed in to switch the backlight off and pushed in again to switch it back on. 



RECORD LEVEL, MAIN VOLUME, HEADPHONE OUTPUT 

Above the numeric keypad, you will find the RECORD LEVEL and MAIN VOLUME controls: 

REC LEVEL MAIN VOLUME 





MIN MAX MIN MAX 



Input level for sampling is regulated using the RECORD LEVEL control and the S3200XL's 
overall output level is controlled, not surprisingly, by the MAIN VOLUME control. This also 
governs the level of the sound appearing at the HEADPHONE OUTPUT. 



NOTE: The MAIN VOLUME control does not affect the level appearing at the individual 
outputs or the real-time digital audio output. 



Page 20 S3200XL Operator's Manual - Version 1 .00 



INTRODUCTION 



HOW THE S3200XL WORKS 

Despite its versatility, the S3200XL is very straightforward and once you have a basic grasp of 
the flowcharts shown on the next pages, things will make more sense. 

Basically, you can have SAMPLES. These are the pieces of raw digital audio that are always the 
basis of any sound in the S3200XL. These may be derived from floppy disk, hard disk 
(including Magneto Optical (MO) Disks, removable cartridge types), CD ROM or, of course, you 
may sample your own sounds via the analogue or the digital inputs. 

Once you have a raw sample, there are many things you can do with it within EDIT SAMPLE. 
You may TRIM it - that is, remove any unwanted audio from the start or end. You may CHOP it - 
that is, remove a section in the middle and splice the two remaining sections together or you 
may CUT it - that is, remove a section in the middle and keep the gap thus created. You may 
also EXTRACT part of the sound - that is isolate a section (such as one snare drum in a 
breakbeat) and extract that snare hit from the original. You may also TUNE and/or REVERSE 
the sample. 

Of course, one problem always associated with sampling is LOOPING. Because any given 
sample is only a few seconds long, if you want to sustain that sample longer than its original 
length, some method has to be sought to do this. This is LOOPING. A loop is a section of the 
sound that repeats as long as you hold your finger on the key and is set by setting a start and 
end point for the loop. This is something of an art and a science and something we won't delve 
into here in great detail. To make looping as easy as possible, the S3200XL has FIND and 
CROSSFADE functions to help you set good loops. 

Other sample editing functions include TIMESTRETCH which allows you to lengthen or 
shorten a sample without changing its pitch (again, we will look at this in more detail later in this 
manual) and RE-SAMPLING, a technique that allows you to squeeze the optimum 
performance out of available memory space. On the S3200XL, you may also NORMALISE a 
sample's level for optimum signal to noise performance. 

Once you have edited a sample you place it into a PROGRAM. 

A PROGRAM is where you assemble your sample(s) for playback. In a program, you allocate a 
sample to a KEYGROUP (in fact, you can allocate 4 samples to one keygroup for layering, 
velocity switching and velocity crossfading but more on that later!). A program may have as little 
as one keygroup spanning the entire keyboard or as many as one keygroup for every key each 
with four samples in them! To overcome the abrupt tonal discrepancies sometimes 
experienced when two different samples are placed 'side by side' on the keyboard, positional 
keygroup crossfading can be used for a smoother transition. 

Once in a keygroup, the sample may be passed through resonant filters for tonal modification, 
through amplifiers for amplitude control and through a pan section for stereo placement. 
Keygroups may be freely assigned to the individual outputs for external processing on a 
mixing console. 

On top of this, you may apply modulation from 2 x Low Frequency Oscillators (LFOs) for vibrato 
and other effects. A SINGLE TRIGGER LEGATO mode allows you to emulate solo instruments 
such as woodwind and brass more realistically and to allow for greater expression when playing 
synth bass parts or lead sounds. 

One powerful feature of the S3200XL is the flexible ASSIGNABLE PROGRAM MODULATION 
known as APM for short) in EDIT PROGRAM. Using this, any modulation source may be routed 
to virtually any control input. In this way, the S3200XL is a powerful synthesiser as well, except 
that you may use almost any sampled sound (of your own or from a sound library) as the basis 
of your own powerful and expressive sounds. 



S3200XL Operator's Manual - Version 1 .00 Page 21 



INTRODUCTION 



Once you have placed your sample(s) into a program, you may play them from a MIDI controller 
in SINGLE mode. You may also add powerful multi-effects such as simultaneous distortion, 
EQ, chorus/flange, delay and reverb to these programs. 

Once you have several programs in memory, you may use the MULTI mode to combine them 
together. Typically, this will be to set different programs to different MIDI channels for multi- 
timbral sequencing but you may also use the MULTI mode for layering programs and for key 
splits. In MULTI mode, the four channels of the effects processor may be used so that different 
programs may have different effects applied to them. Furthermore, the MULTI's internal mixer 
allows you to mix the level and pan of each program as well as set its effects send level. With 
the individual outputs, these programs may be assigned to their own output for mixing on an 
external mixing console. 

Once you are happy with everything, the whole thing may be saved to disk for recall at a later 
date. 

One of the beauties of the Akai samplers is that there are no restrictions on what you do with 
samples - any sample can be placed into any keygroup in any program. One sample may be 
placed into a variety of different programs, each of which impose different envelope or filter 
settings to create a wide range of possibilities from very little. One or more samples may be 
used in any other programs even on other disks and/or one program can be used as the basis 
for processing other samples. 

S3200XL FLOWCHART 

The following flowcharts will help your understanding of the S3200XL. 




SAMPLE(S) 



Here, samples are made and edited, placed into programs (which can be played singly if you 
wish) and these programs can be placed into a multi (where several programs may be played 
together). Programs and multis can use multi-effects. 



Page 22 



S3200XL Operator's Manual - Version 1.00 



INTRODUCTION 




ANALOGUE INPUTS 
DIGITAL INPUTS 
FLOPPY DISK 
HARD DISK/CARTRIDGE 
CD ROM 





EDIT 


SAMPLE 






TRIM 


CHOP 


CUT 


EXTRACT 




LOOP (X4) 


JOIN 


XFADE 


TUNE 




NORMALISE/ 


RE-SCALE 


FADE 


REVERSE 




TIMESTRETCH 


RESAMPLE 





EDIT PROGRAM 




FX SEND 
TO INT 
EFFECTS 



PER 
KEYGROUP 



TUNE 


— ► 
— ► 


SAMPLE 1 


TUNE 


SAMPLE 2 


TUNE 


SAMPLE 3 


TUNE 


SAMPLE 4 



J. 



12dB/8ve 

RESONANT 

FILTER 



KG PITCH 



VEL SW/XFD 



rr 

I KEYSPAN | 



TTT 



FILT2 
TONE 



AMP 



TT 



ENV3 



ENV2 

zx: 



PAN 



PAN 



PAN 



PAN 



ENV 1 



ENVELOPE TEMPLATES 



IND. OUT 1-8 



IND. OUTPUT ASSIGN 



MASTER 
OUTPUT 



TTT 



AUTO 
PANNING 



TTT 



MASTER PROGRAM OUTPUT 



ASSIGNABLE PROGRAM MODULATION SOURCES 



ENV 1 


ENV 2 


ENV 3 


LF0 1 


LF0 2 



TTT 



MOD.WHL 


P. BEND 


PRESSURE 


KEY.POS 


VELOCITY 


EXT.MIDI 



S3200XL Operator's Manual - Version 1.00 



Page 23 



INTRODUCTION 



MULTI-MODE 




^ 






PARTS 1-16 


I 




— 


!l 






\ 














FX SEND LEVEL 


PER PART 










PROGRAM SELECT MIDI CH TUNE OCTAVE LEVEL 1 1 PAN 1 1 FX BUSS PRIORITY 












OUTPUT ASSIGN 



























4-CHANNEL EFFECTS PROCESSOR 



MULTI-EFFECTS CHANNEL x 2 



DISTORTION/EQ 



MOD/DELAY EFFECTS 



-- DISTORTION - EQ - RING MOD 



CHORUS 






or 




FLANGE 






or 




PHASE 






or 




PITCH SHIFT 






or 




PAN/FMOD 







,j: DELAY 



REVERB 



REVERB 



REVERB ONLY CHANNEL x 2 



REVERB 



REVERB 



Page 24 



S3200XL Operator's Manual - Version 1.00 



SINGLE MODE 



SINGLE MODE 

SINGLE is where you may select and play programs. Pressing SINGLE gives this screen 
display. 



PROGRAMS IN MEMORY 



* 1 STRINGS 1 



2 
3 
4 
5 



PIANO 
BASS 
BIG KIT 
SYH BASS 



<vol: UOLUME 020 
S program £s> 
1 now active 
PROGRAM NUMBER:! 



> 



slot una m woia dies ems emu ehe 



NOTES REGARDING THE S3200XLS SINGLE MODE 

Before we look at the functions in this mode, please bear the following in mind. 

SINGLE mode, as the name suggests, is essentially designed to play single programs. 
However, for historical reasons, in order to be compatible with sound disks created on Akai 
S1000, S1100 and the S3000 series, you can, in fact, play several programs at once. This is 
done by setting two or more programs to the same program number (see below - 
RENUMBERING PROGRAMS). Furthermore, you may have several programs active at any one 
time and each of these may have a different MIDI channel so that they play multi-timbrally. 
However, as mentioned, this is included here so that such disks created on earlier Akai 
samplers can be used without tedious re-programming or conversion. 

NOTES FOR EXISTING AKAI SAMPLER USERS 

If you have used an Akai S1000, S1100 or any of the S3000 series samplers and are familiar 
with the concept of several programs sharing the same program number, you may continue to 
work in this way if you wish but we feel sure you will appreciate the speed and convenience of 
the MULTI mode for layering and multi-timbral sequencing once you give it a try as it has many 
advantages over the way earlier Akai samplers dealt with multi-timbral applications. However, 
retaining the old method as well gives you the best of both worlds in that any setups you may 
have using the older method can still be used plus you can avail yourself of the new functions 
as and when you like. You may like to convert existing S1 000/1 100/3000 multi-timbral setups 
into new MULTI files if you wish. 

NOTE FOR NEW USERS 

If you are new to Akai samplers but have had some experience of other sound modules, you 
will probably feel more at home setting up multi-timbral data, layered programs and key splits in 
the MULTI mode as this is more in keeping with how other sound modules work these days. 
You can use the SINGLE mode for playing single programs. With that in mind, you may like to 
skip a lot of this section as it really refers to the 'old method' of using earlier Akai samplers. 

SELECTING PROGRAMS 

Selecting sound to play can be done in several ways: 



1 



In the main SELECT PROG screen as shown above, turning the DATA control 
will select different programs for playback. 

In the main SELECT PROG screen, use the numeric keypad to select sounds 
by number. To do this, press the </+ key twice followed by a three digit 
number. I.e. to select program 25, press </+ and 025. To then select program 
26, simply press 6. To then select program number 1 , press </+ once followed 
by 01 or twice followed by 001 . 

Send MIDI program change commands from your keyboard, synthesiser, 
sequencer or whatever MIDI controller you are using. You will note that the 
S3200XL uses 'actual' program numbers 1-128 - if your keyboard sends out 0- 



S3200XL Operator's Manual - Version 1.00 



Page 25 



SINGLE MODE 



127, please bear this in mind as you will have to offset all program change 
commands you issue by 1 . 

Whichever method you use for selecting programs, when the program is selected, an asterisk 
appears alongside it number and the program number is indicated. One useful feature of the 
S3200XL is that it is possible to be playing one program whilst another is being selected. For 
example, whilst holding down a low string note you could select, say, a brass sound. The 
strings will continue to sound and you may now play the brass part. Please note, however, that 
if you are using the internal effects on either or both of these sounds, there may be a 
noticeable change as only one effect can be used at once. In this case, the brass program's 
effects would take priority. 

VIEWING PROGRAMS 

The LCD can display 5 programs at any one time. There may be occasions when you have 
more than this and so you may use the CURSOR keys to scroll through your program list. 
Pressing the CURSOR LEFT or RIGHT keys will scroll though the list one at a time and pressing 
the CURSOR DOWN or UP keys will increment through the list in steps of five programs. This 
can be helpful if you are searching for a particular sound and need to see what is loaded in the 
S3200XL. The display will tell you how many programs are loaded and in the above example, 
we can see that there are actually 8 programs in memory even though only the first five are 
displayed. It is possible to be viewing other programs whilst playing another. 

SETTING PROGRAM LEVELS, PAN, FX SENDS 

In the MIX page of SINGLE, you may view the programs in memory and set their level, pan, etc.. 
This is a convenient and quick way to adjust the levels of single programs en masse without 
having to edit each one individually in EDIT PROGRAM. To access this, press WuUGM and you 
will receive the following display: 



laim prog no:| 


II st-pan out -ley fx-send 


* 1 STRINGS 1 


99 MID OFF 50 FX1 23 


2 PIANO 


99 MID OFF 50 FX2 12 


3 BASS 


99 MID OFF 50 OFF 00 


4 BIG KIT 


99 MID OFF 50 RU3 45 


5 SYN BASS 


95 MID OFF 50 OFF 00 


Him mix imai iioifl laea IBM! I lasMi itiaiu 



On this page you may set, from left to right across the screen: 

prog no: This shows the number of the program selected in the main SINGLE page 

although you may select another program or group of programs in this field. 

st This sets the level of the program as it appears at the left/right stereo outputs 

of the S3200XL. This would normally be used to mix the levels of different 
programs and is the equivalent of a mixers fader control. It is possible to send 
programs to individual outputs but, by mixing them out of the stereo outputs 
by setting this parameter to 00, you remove them from the main mix. In this 
way, for example, you could send individual drums to separate channels of an 
external mixer for more elaborate level and tonal control whilst other 
instruments appear only at the stereo outputs of the S3200XL. In this way, 
very complex mixes can be set up. Another method may be to send, say, 
snare and kick to individual outputs (but take them out of the stereo mix) and 
just have toms and percussion in a stereo image coming out of the main stereo 
mix. In this way, you save on channels on your external mixer. 

pan This sets the pan position of the program in the stereo outputs and the range 

is L50 through MID (00) to R50. 



Page 26 S3200XL Operator's Manual - Version 1 .00 



SINGLE MODE 



out 



This allows you to assign any program to one of the 8 individual outputs 
should you wish to mix the program using an external mixer. The range is OFF, 
1-8. 



NOTE: It is possible to send individual keygroups to these outputs so the results you get may 
sometimes be a little unpredictable if you are not sure of the key group assignments. 



leu 
fx- 

send 



This sets the level of the audio appearing at the individual outputs. 

This allows you to route the program to one of the four effects channels, FX1 , 
FX2, RV3 or RV4. You may also switch the effects routing to OFF. 

This sets the effect send level. The range is 0-99. 



N OTE: I n any of the SINGLE mode's pages, you may conveniently mute the effects using F8 
- iMalll This will turn off all four effects channels so that you can hear the program(s) in 
isolation. 



SETTING PROGRAMS' MIDI PARAMETERS 

Pressing F3 - II119I - will display the following screen: 



isnai 


prog no:^K 


I ch 


range 


pol pri 


tr 


* i 


STRINGS 1 


1 


C_0 


G_8 


32 NORM 


+00 


2 


PIANO 


1 


C_0 


G_8 


32 NORM 


+00 


3 


BASS 


1 


C_0 


G_8 


32 NORM 


+00 


4 


BIG KIT 


1 


C_0 


G_8 


32 NORM 


+00 


5 


SYN BOSS 


1 


C_0 


G_8 


32 NORM 


+00 


ymgiSEEi midi Hung hbb emb hmb ram 



This could be regarded as a 'MIDI mixer' as it follows a similar layout to the MIX page described 
above. This page allows you to set various MIDI parameters for each program. The parameters 
are: 

prog no: This shows the number of the program 1-128 selected in the main SINGLE 

page although you may select another program or group of programs in this 
field. 



ch 



range 



pol 



This allows you to set the MIDI channel for any program and the range is OM 
(omni) through 1-16. This parameter allows you to layer programs together by 
setting two or more programs to the same program number and setting their 
MIDI channels the same in this field. It also allows you to set up sophisticated 
multi-timbral configurations (i.e. set several programs to the same program 
number and assign different MIDI channels to each program). You may also 
layer two or more programs within a multi-timbral configuration of course. 

When two programs are given the same program number, it is possible to set 
up keyboard splits by setting the note range of the programs. This parameter 
ignores each programs keygroup ranges and simply imposes a range on the 
whole program. In this way, you can quickly set up very complex keyboard 
splits and layers without having to concern yourself with the intricacies of 
setting keygroups within a program itself. Please note that this parameter has 
no effect on single programs, it is only when two or more programs have the 
same program number that it is effective. 

This is an abbreviation of POLYPHONY and allows you to limit the polyphony 
of a program. 



S3200XL Operator's Manual - Version 1.00 



Page 27 



SINGLE MODE 



pn 



This is an abbreviation of PRIORITY and allows you to set how notes will be 
'stolen' by other programs if the 32 voice polyphony is exceeded. There are 
four settings: LOW, NORM, HIGH and HOLD. If the program is set to LOW 
priority, then notes from this program will be stolen first. If set to HIGH, then 
notes from other programs with lower priority will be stolen first before they are 
stolen from this program. NORM is, of course, normal priority and sets standard 
dynamic voice allocation and note stealing will take place with no particular 
priority. If a program's priority is set to HOLD, then notes can only be stolen 
from this program by the same program. 



If you are playing a complex piece of music using many programs in a multi- 
timbral configuration, it is a good idea to set important programs to HIGH or 
HOLD and less important, background programs to LOW. If the piece of music 
is not overly complicated and polyphony is not going to be exceeded, you 
may prefer just to leave the priority at the default setting of NORM. 



tr 



This is an abbreviation of TRANSPOSE and sets the basic octave range for 
the program. The range is +/- 50 semitones. You will note that this is not a pitch 
shift function as such but a MIDI transpose function - this overcomes the 
problem of playing back samples out of their range. What this function does is 
introduce an offset so that, even if you play C3 on the keyboard, this is offset 
to play the samples on C4 (with a +12 setting) - it is not playing the samples on 
C3 an octave higher. 



NOTE: It must be said that this page is really an inheritance from earlier Akai samplers when 
using multi-timbral setups. We strongly recommend that for such purposes, you use the MULTI 
mode but retaining these functions ensures compatibility with data created on earlier models. If 
you have used Akai samplers before, you may continue to work in this way, of course, but, as 
mentioned, the new MULTI mode may be more convenient 



Page 28 



S3200XL Operator's Manual - Version 1.00 



SINGLE MODE 



SETTIN G PRO GRAM LOUDNESS AND VELOCITY 

In the liiim page, you may set the program's overall loudness and velocity sensitivity: 



Hiiua prog nc>:^n 


1 loudness 
SO 


uel>loud 
+20 


* 1 STRINGS 1 


2 PIAHO 


SO 


+20 


3 BASS 


SO 


+20 


4 BIG KIT 


SO 


+ 10 


5 SYH BASS 


33 


+00 


E=nai una eies loud hes ems BMa if^tti 



The parameters are: 

loudness This sets the overall loudness for the program and affects the level appearing 

at the main left/right outputs, the individual outputs and the real-time digital 
audio output. It will also affect the level going to the internal effects. 



NOTE: You will note that at a setting of 99, the program is at maximum level but you will not 
have any velocity sensitivity. 



uelMoud This sets the program's sensitivity to velocity. As mentioned, with loudness 

set to 99, this parameter will have no effect. 



S3200XL Operator's Manual - Version 1.00 



Page 29 



SINGLE MODE 



LOADING FROM FLOPPY DISK 

The next key along, F5, gives you access to some basic disk functions for loading sounds into 
the S3200XL. Pressing IO&3 in the SELECT PROG mode gives you this screen: 



MiT-liMrMSIilHSI : laimawi:i uol: NOT NAMED 


STRINGS 1 




SOFT STRINGS 


programs: S 


OCT STRINGS 


^samples: 6) 


SLOU STRINGS 


free men: 100^ 


PIZZA STRNGS 


rLOADn 


ehsi una mos bbibi disk ess rp+si ronn 



Here, y ou have a choice of two options: loading a particu lar program and its associated samples 
(I F+S I) or loading the entire contents of the disk (I MQL I). 



If you have inserted a disk, pressing UU=1EI will bring up a list of all programs stored on th at disk. 
If you have inserted the wrong disk or wish to change it, insert a new disk and press the UM33 
key again. If y ou wan t to wipe out all programs and samples in memory and load the contents of 
the disk, press GEO You will be asked if this is what you really want to do. Make sure that you 
either do not want the programs and samples in memory, or that they are saved to disk before 
you proceed. As the disk is loading, you will receive this display 



I STRING C3 



S 6 a s. 



loading sample:- STRING C2 



indicating the loading progress. 



The other option, I F+S I, allows you to load a program and all associated samples ( free me mory 
permitting). To do this, highlight a program using the CURSOR keys, and press I F+S I. The 
program, and its associated samples, will be loaded into memory. If the samples required by 
this program already exist in memory, they will be loaded anyway, but they will overwrite the 
samples currently in memory. If there is not enough memory to load a program and its samples, 
the message 



I STRING C3 



S 6X 



| !! Insufficient uaueform memory!! I 

will be displayed. In this case, you will have to delete some existing programs and/or samples 
to free up some memory space. 



Page 30 



S3200XL Operator's Manual - Version 1.00 



SINGLE MODE 



LOADING FROM HARD DISK 

If you have a hard disk of any description connected via SCSI for loading sounds, you will 
receive the following display when F5 is pressed: 







MiT-liMrMSIilHSI : liMd'BI:" '"-■ • = Nl ■ • NuM( " ' ' 


STRINGS 1 




SOFT STRINGS 


programs: S 


OCT STRINGS 


tsanples: 6) 


SLOU STRINGS 


free men: 100^ 


PIZZA STRNGS 


rLOflDn 


ehsi una inns nana disk ess ittsi rurnn 



This is almost the same as for floppy except that you can see it tells you that it is a hard disk. 
You may select from different volumes by moving the cursor to the vola field and scro lling 
through the volumes on the disk. By moving the cursor to where it says 'El' after CEEEHl you 
may select different p artitions to choose other volumes. Loadi ng is done in the manner 
described above - press I MQL I to load the entire volume and I F+S I to load a particular program 
and its associated samples. 

NOTE: There is more to using a hard disk than that, unfortunately, such as matching SCSI 
ID's, formatting, etc.. For details on using the S3200XL with a hard disk, please refer to the 
section HARD DISK CONTROL in the DISK section. 



Other disk operations, like saving and formatting disks, are performed in the DISK mode, not 
from this page. This page is intended purely for quick access to loading from disk. 



S3200XL Operator's Manual - Version 1.00 



Page 31 



SINGLE MODE 



DELETING PROGRAMS 

Programs and their asso ciated samples may be deleted from memory in this page, which is 
accessed by pressing the EMS key. Pressing this key displays this screen: 



DELETE PROGRAMS FROM MEMORY 



* 1 STRINGS 1 



2 
3 
4 
5 



PIAHO 



BIG KIT 
SYH BASS 

ehsi una eieh hues 



programs: 
free: 



S 
12* 



r delete n 
EHg3 IFE051 IFnOHl fffLTTI 



When this page is displayed, the cursor will highlight a program. Highlight the program you 
want to delete using the CURSOR keys. There are th re e soft key actions that you can take, all 
concerned with deleting programs: IFRQGI IFHUMI iflLUJ 



NOTE: If you delete a program from memory, make sure that you really do not need that 
program in the future or that you have saved it to disk first In some cases, as explained below, 
deleting a program will also delete samples. Make sure these really are unwanted or have been 
saved to disk before proceeding. 



The three 'action' keys are as follows: 

IFRQGI Pressing this will display this prompt: 



5 SYH BASS 



I 



delete 



delete one program? 



GO ABORT 



and you should press GO or ABORT as necessary. 

If the program is the only one in memory using a particular set of samples, you 
will receive the following prompt: 



5 SYH BASS 



I 



delete 



EHD01 



HELD 



| delete 3 released samples? HO YES | 

Press the appropriate soft key if you are sure that you want to delete the 
program and its associated samples. 

If the samples contained in the program are used elsewhere in other 
programs, you will not receive this prompt as it is assumed you don't want to 
lose these samples. 

This will delete all programs which have the same number as the highlighted 
program. You will be asked if you want to proceed with the bulk program 
delete. If these programs are the only ones using particular samples, you will 
be asked if you want to delete the samples as well. 

This, of course, is the most drastic of these three options. If you answer GO 
and YES to the questions regarding released samples, then all programs, 
(except for an S3200XL generated program - TEST PROGRAM) and samples 
will be deleted. Deleting samples and rearranging memory space may take a 
little time, so be patient while this takes place. 



Page 32 



S3200XL Operator's Manual - Version 1.00 



SINGLE MODE 



NOTE: Obviously, LfiLLU is an option to be used with some caution. If the programs and 
samples in memory have not been saved to disk, deleting programs and/or samples at this 
point will be fatal - YOU WILL NOT BE ABLE TO RETRIEVE THEM. Please be careful. 



S3200XL Operator's Manual - Version 1.00 



Page 33 



SINGLE MODE 



RENUMBERING PROGRAMS 

On the S3200XL, program numbers correspond to patch numbers on a synthesiser. When a 
MIDI Program Change message is received, the appropriate program is selected. However, to 
match S3200XL programs with the patch numbers on your synthesiser, you may want to 
renumber the programs, so that selecting a brass sound on the S3200XL will c all up a similar (or 
complementary) patch on a remote synthesiser module. To do this, press the Iflilllil key. 



You will receive something like this screen display: 



CHANGE PROGRAM NUMBER OF MEMORY PROGS 



* 



STRINGS 1 

2 PIANO 

3 BASS 

4 BIG KIT 

5 SYN B ASS 

CBLD 



ISL1EI 




As the screen informs you on this page, you select the program to be renumbered using the 
CURSOR keys and alter the current number to the new number using the DATA control. You 
can also use the numeric keypad for this, setting the program number to a value of between 1 
and 128 (these are MIDI specification limits). When you have altered the number, you have 
several options to choose from on soft keys 6, 7 and 8. These are: 



ZBLD 



EOEl 



[SEE 



EEEQl 



This will set all programs to the same number as that set in the currently 
selected program. For example, placing the cursor on 3 - BASS and setting 
that to 1 would renumber all the programs to program number 1 . This is useful 
when you have loaded in a variety of sounds from different disks or hard disk 
volumes and wish to sequence them multi-timbrally (see later). 

This causes all subsequent programs to be renumbered with an offset to the 
currently selected program. For example, if you renumbered program 4 to 10, 
all subsequent programs (i.e. SYN BASS and others off the screen) will be 
renumbered 11, 12, 13, etc.. whilst programs 1, 2 and 3 would be unaffected. 

This will only renumber the currently selected program. All other programs will 
be unaffected. You may also use this to renumber several programs in one go. 
For e xample , change the programs accordingly (i.e. 1 , 2, 3, 4, 5, etc.) and then 
press I SET I (although the ISEQUI would be more appropriate for this). 

This will renumber all programs sequentially 1-? depending on how many 
programs are in memory. 



Once you are happy with the result of your renumbering, press @3D to return you to the main 
SINGLE screen display. Also, if you change your mind and do not wish to renumber something 
now, simply leave the RNUM page without pressing F3, F4, F5 or F6. 



Page 34 



S3200XL Operator's Manual - Version 1.00 



SINGLE MODE 



USING THE S3200XL IN OLD AKAI' MODE! 

The next group of explanations deal with using the SINGLE mode like the SELECT PROG 
mode on earlier Akai samplers such as the S1000, S1100 and S3000 series. As mentioned, 
these functions have been retained in order to preserve compatibility with data created on 
these samplers. In keeping with other sound modules, the S3200XL sees the introduction of a 
new MULTI mode. This is a quick and easy way of combining several programs together for 
multi-timbral sequencing, layering and key splits. However, progress brings with it certain 
compatibility issues and the fact remains that, as THE industry standard sampler the world over, 
there is a lot of data out there that was created on Akai samplers. For compatibility (and to be 
considerate to our customers!), the 'old Akai' way of working is retained. The following 
explanations, therefore, refer to this method of operation should you wish to work in this way or 
if you have existing sound library that uses this method. If you have used Akai samplers before, 
you may well wish to continue working in this way but, if you are new to our samplers 
(welcome!), you may prefer to skip this section and refer to the section that explains MULTI 
mode and all it advantages. 

USING SELECT PROG - PROGRAMS WITH THE SAME NUMBER 

Most of the time, you will probably want to load in the sounds you need and these will be single 
programs for playing from the keyboard (or whichever MIDI instrument you play). As we have 
seen, this is easy enough - simply scroll through using the DATA control or select them via MIDI 
program change. There are occasions when you want to play several programs together, 
however, and this is where the renumbering becomes useful. 

LAYERING PROGRAMS 

Although it is possible to layer sounds within one program or within MULTI mode, it is useful to 
be able to call up several programs together. 

For example, let's say you have a string program and brass program you want to combine. As 
mentioned, you could make up a program that combined all of these samples but an easier way 
is to simply give them the same program number - for example, renumber them both to, say, 
program 1. When you select program 1 you will then select the combined programs with the 
strings and brass layered together. You may also set the balance and pan positions between 
these sounds in the MIX page. 

You may prefer to layer sounds using RNUM rather than creating one program with the 
required sample(s) in it because there are certain aspects to creating a program that affect all 
things the same. For example, the auto-panning and effects send would affect all samples 
equally - when using the RNUM function, one sound in the layer could be panning slowly left to 
right routed to FX1 whilst another stays central through RV3. You also have easier control of 
the respective levels of the programs in the layers. 

Of course, you are not limited to layering just two sounds - you could layer up to 32 programs 
for a monster monophonic lead line or bass sound! 

CREATING KEYBOARD SPLITS 

As for layering, it is easy to set key splits in EDIT PROGRAM or in MULTI mode but, again, it may 
be more convenient to create the split using the RNUM function. 

Let us say you have two programs - UPRIGHT BASS and VIBES - and you want to create a split 
so that you can perform a walking bass line with your left hand and a jazzy vibes solo with the 
right. By setting the RANGE parameter in the MIDI page (F4) accordingly, the bass can be set 
to finish at B2 and the vibes set to start at C3. Even though both these programs originally 
spanned the entire keyboard, this function allows you to impose limits on the programs' 
keyranges. Now, assuming that both programs have the same program number (i.e. both are 
renumbered 1 or something), then you can play both programs with the keyboard split. 



S3200XL Operator's Manual - Version 1 .00 Page 35 



SINGLE MODE 



USING RENUMBERING TO CREATE MULTI-TIMBRAL SETUPS 

One of the most appealing things about MIDI is its multi-channel ability. Originally, synth 
modules could be set to a specific MIDI channel number so that several modules could be set 
to play several musical parts from a sequencer. Of course, as technology advanced, it became 
possible to do this within one module and such a module is known as 'multi-timbral' - i.e. 'many 
sounds'. The S3200XL is no exception and has powerful multi-timbral capabilities. 

Multi-timbral setups are more easily created in the new MULTI mode but, if you want to use old 
method, read on. 

To set up a multi-timbral assignment in SINGLE, we use the renumbering function again. 
Assuming you have loaded in a pile of programs you wish to sequence, give them all the same 
program number. T his is d one in the RNUM page and you simply give the same number to all 
programs using the LBLLJ function. You should receive a display something like this when you 
return to the main SELECT PROG screen: 



PROGRAMS IN MEMORY 



* 


1 


STRINGS 1 


* 


1 


PIANO 


* 


1 


BASS 


* 


1 


BIG KIT 


* 


1 


SYH BASS 



<vol: UOLUME 020 ) 
S program £s> 

S now active 

PROGRAM NUMBER:| 



slot una una] woia hes ems emu nr^m 



Here, all programs are number 1 . 

Of course, you will need to assign each program to have different MIDI channels: 



lyllOl prog no:^H 


1 cha range pol pri tr 


* 1 STRINGS 1 


1 C_0 G_S 32 NORM +00 


* 1 PIANO 


2 C_0 G_S 32 NORM +00 


* 1 BASS 


5 C_0 G_S 32 NORM +00 


* 1 BIG KIT 


10 C_0 G_S 32 NORM +00 


* 1 SYH BASS 


7 C_0 G_S 32 NORM +00 


gianma nidi BsmaiaEaEaiESMiEiiii 



You can also use the MIX page to set the levels, pan position, output assignment and effects 
send for each program: 



liiim prog no:H 


Q st pan out -ley fx-send 


* 1 STRINGS 1 


99 MID OFF 50 FX1 23 


* 1 PIANO 


99 MID OFF 50 FX2 12 


* 1 BASS 


99 MID OFF 50 OFF 00 


* 1 BIG KIT 


99 MID OFF 50 RU3 45 


* 1 SYN BOSS 


95 MID OFF 50 OFF 00 


EHUI nix laiiai HMilfl Iflfcia IflMB 13311131 ItkJJJ 



Remember, also, that you may use a combination of all of these techniques and you can, of 
course, have a mix of split and layered programs within a multi-timbral assignment. 

Using the S3200XL live, you may have several multi-timbral setups in memory at any time 
(memory allowing, of course!). In this way, you may have sets of programs for each song 
recalled from a MIDI program change from your sequencer (this is one advantage of using this 
method over MULTI - you may only have one multi file in memory at any one time). 



Page 36 



S3200XL Operator's Manual - Version 1.00 



SINGLE MODE 



SINGLE VS MULTI 

As mentioned, you may achieve similar results in the MULTI mode where you can create multi- 
timbral setups, key splits, layered programs (and combinations of these) very quickly and 
easily. The advantages MULTI has over the 'old Akai' methods are many and are: 

Selection of programs for a part is quick and easy. 

You can try out different sounds very easily and is therefore ideal for loading in, say, a few 
pianos, a few basses, a few drum kits, etc., and experimenting with different combinations 
of sounds. Equally, when layering, choosing and experimenting with combinations is 
extremely quick. 

When changing sounds, any mixer parameters, effects assignments, etc., you may have 
set in the MULTI remain constant so you do not have to reset everything every time you 
change a sound. 

You can use the same program several times in a MULTI. For example, you may layer a 
strings program (or whatever) on top of itself with some detune for a richer sound simply by 
applying the same program to two (or more) parts, giving those parts the same MIDI 
channel and setting a FINE TUNE value for each as appropriate (to achieve the same result 
in SINGLE requires that you make a copy of the program). 

In the case where a program is layered on top of itself for detuning, editing one of them will 
affect both so that you can make changes to the whole sound with one simple action (for 
example, layering a string pad on top of itself with some detune and editing the attack of 
one of the parts will cause both parts to be affected). 

You may select different programs independently on different MIDI channels (i.e. send a 
program change on channel 5 to select a new string sound in part 5). 

You can save the multi file with a meaningful name (i.e. BACK TRACK 3 or the name of the 
song, whatever). 

If you are new to samplers, the MULTI mode corresponds more with most other sound 
module's implementation that you may be more familiar with. 

The disadvantages of MULTI is that only one multi file may reside in memory at once (although 
any number may be saved to disk) and you can't have more than sixteen programs active at any 
one time. 

The advantages of using the 'old Akai' method are: 

You can have several multi-timbral setups or layers in memory at any one time and recall 
them with a single MIDI program change (ideal for live work where you may have the 
different backing tracks for all your songs in memory at once). 

You may have more than sixteen programs active at once (although there are not more 
than sixteen MIDI channels, you may have layered programs in a multi-timbral setup). 

The disadvantages, however, are: 

Changing sounds in a multi-timbral setup and experimenting with different combinations of 
sounds is awkward and slow compared with MULTI mode. 

You cannot select a new program for one of the parts using MIDI program change 
commands (you can't send a MIDI program change on MIDI channel 5 to select a new string 
sound for that part, for example). 



S3200XL Operator's Manual - Version 1 .00 Page 37 



SINGLE MODE 



When you assign a new program to the setup, its level, pan, effects routings are recalled 
with it. This may be an advantage for some users but it does mean you have to reset the 
mix every time you replace one sound with another. Furthermore, even though a 
program's effects channel is recalled when you assign a new program to the multi-timbral 
setup, the effects preset associated with that effects channel may be different and so 
cause unpredictable results. 

You can't name a set up and so you can't see the multi-timbral setup referred to by name 
when you come to load it. 

Basically, there are pros and cons to both methods - it's up to you to decide which you want to 
use depending on your application. At least you have the flexibility to use either. The big 
advantage is that you may load older sound library material and use it with no conversion 
process or editing required. As mentioned, whether you choose to convert older Akai sound 
data into S3200XL 'format' using the MULTI mode is up to you depending on your application. 



Page 38 S3200XL Operator's Manual - Version 1 .00 



MULTI MODE 



MULTI MODE - COMBINING SEVERAL PROGRAMS 

Multi mode is where you can combine up to sixteen programs together so that they may be 
played in combination. The MULTI mode has 16 'parts' - slots into which up to 16 programs may 
be assigned and typically, this is used to sequence several programs multi-timbrally 2 by setting 
each part to be on a different MIDI channel. 

However, it is also possible to set parts to the same MIDI channel so that you can layer 
programs for a rich, expansive (expensive?) sound. Furthermore, you may set low and high 
keyboard ranges for each part so that sophisticated keyboard splits may be created. 

Each part may be routed to one of the four effects channels and you have a total of four effects 
that can be applied to the parts in the multi. More than one part may be routed to any one of the 
effects channels so that parts may share effects and each part has its own effects send level. 

However, you may prefer to use the S3200XL with external effects processors using a mixing 
console. To accommodate this, each part may be routed to one of the 8 individual outputs. By 
doing this, each part may have its own mixer channel where it can be EQ'd, mixed, panned and 
effected using your favourite outboard effects processors. 

Of course, a combination of these is possible. In one multi, some parts may be on unique MIDI 
channels whilst others share the same channels for layering and/or key splits and some parts 
may be routed to the internal effects processor in the S3200XL whilst others are sent out via 
the individual outputs for processing on the mixing console. 

As you can see, the MULTI mode is very flexible. 



NOTE: Strange though it may seem, you may also use SINGLE mode to set up multi-timbral 
setups, program layering and key splits. Although it may seem a contradiction in terms to use 
the SINGLE mode for 'multi' applications, this is to maintain compatibility with data created on 
earlier Akai samplers. If you are an experienced Akai sampler user, you can continue to work 
this way but we do recommend you use the new MULTI mode as it does offer certain 
advantages in terms of ease and speed of use and convenience. Please refer to the section 
SINGLE mode for details on this. 



The S3200XL can respond to all 16 MIDI channels simultaneously in the MULTI mode. 
'MULTI-TIMBRAL' literally means 'many sounds'. In the early days of synthesisers, you 
needed a separate synthesiser for every part you wanted to play but, with the advent of 
MIDI, a synthesiser or sampler could be coaxed into playing several different sounds 
together so that only one synth/sampler was required to play several parts. With the 
S3200XL's 32-voice polyphony, complex multi-part arrangements can be performed using 
the MULTI mode. 



S3200XL Operator's Manual - Version 1 .00 Page 39 



MULTI MODE 



Pressing MULTI will give you this screen: 



DUBBI MULTI FILE 


Ch Ley Pan Fx Send 


1 TEST PROGRAM 


1 99 MID OFF 00 


2 ? 


2 99 MID OFF 00 


3 ? 


3 99 MID OFF 00 


4 ? 


4 99 MID OFF 00 


5 ? 


5 99 MID OFF 00 


mix mm nnaia laaiaa laaig rrrrm laamsi ifirrn 



ASSIGNING PROGRAMS TO PARTS 

To assign a program to a part, simply move the cursor to the program name field and use the 
DATA wheel to scroll through the programs in memory. Once you've done that, move the 
cursor to the next part and select the program for that and so on. The other parts show a "?" 
indicating that no programs are assigned (the "?" would also show if a program was assigned to 
a part but that program wasn't currently in memory). All the MULTI screens show the parts in a 
vertical list and on each screen, you can see the program name and the MIDI channel it is 
assigned to. 

SETTING A PART'S MIDI CHANNEL 

Simply move the cursor to the Ch column and set the MIDI channel as appropriate. For multi- 
timbral sequencing, you would normally set each part to a different MIDI channel but for 
layering and/or key splits, you can set two or more parts to the same MIDI channel so that they 
will play together. 

MIXING THE PARTS 

Once you have several parts being played, you need to balance their levels and pan position. 
To do this, simply move the cursor to the Leu field to set the part's level and to the Pan field to 
set its pan position. You will note that even if you change the program assigned to that part, the 
level and pan values will stay the same. 

SENDING PARTS TO THE INTERNAL EFFECTS 

Each part may be sent to one of the internal effects and because the S3200XL's multi-effects 
offers no less than four channels of effects processing, you can have up to four completely 
separate reverbs at once (two channels also offer multi-effects). More than one part may be 
sent to the same effects channel. 

To assign the part to an effects channel, move the cursor to the Fx column and select the 
effect (FX1 , FX2, RV3, RV4) and set the effects send level using the Send parameter. 



NOTE: In any of the MULTI mode's pages, you may conveniently mute the effects using F8 - 
JEHU This will turn off all four effects channels so that you can hear the program(s) in 
isolation. 



These are the most commonly used MULTI parameters. Less commonly used ones are 
accessed via the soft keys. 



Page 40 



S3200XL Operator's Manual - Version 1.00 



MULTI MODE 



ASSIGNING P ARTS 

Pressing F2 



TO THE INDIVIDUAL OUTPUTS 

- will take you to the output assignment page: 



lilHBIB MULTI FILE 


Ch 


OUTselect Leuel 


1 TEST PROGRAM 


i 


OFF 99 


2 ? 


2 


OFF 99 


3 ? 


3 


OFF 99 


4 ? 


4 


OFF 99 


5 ? 


5 


OFF 99 


una out liiisBJi^iaaiaLiEiiiEaDaEin] 



Here, you can set which of the 8 individual outputs each part will appear through. You may also 
set the level of the sound appearing at any of the outputs. 

TUNING AND TRANSPOSI NG PA RTS 
To tune the parts, press F3 - IliliB 



lilHBIB MULTI FILE 


Ch 


Transpose Cents 


1 TEST PROGRAM 


i 


+00 +00 


2 ? 


2 


+00 +00 


3 ? 


3 


+00 +00 


4 ? 


4 


+00 +00 


5 ? 


5 


+00 +00 


una ebh tune lasiaa saia mrm emb eud 



The Transpose column allows you to tune the part in semi-tone steps and the Cents column 
allows you to fine tune parts. 



NOTE: The range of the TRANSPOSE parameter is +/- 50 semitones. You will note that this 
is not a pitch shift function as such but a MIDI transpose function - this overcomes the problem 
of playing back samples out of their range. What this function does is introduce an offset so 
that with a +12 setting, if you play C3 on the keyboard, this is offset to play the samples on C4 - 
it is not playing the samples on C3 an octave higher and hence introducing transposition 
distortion of any kind. 



SETTING A PART'S LOW AND HIGH KEYRANGES 

When setting key splits, you need to set a low and high note limit for each of the programs 
used. This is done on the RNGE (range) screen: 



[MIIE MULTI FILE 


Ch 


LouLimit 


H 


iLinit 


1 TEST PROGRAM 


1 


C_0 






G-3 


2 ? 


2 


C_0 






G-3 


3 ? 


3 


C_Q 






6-8 


4 ? 


4 


C_0 






G-8 


5 ? 

isoa mm Emm rnge 


5 


C_0 






G-3 


IFRIO 


iiismi 


RHUM 


IliEIMI 



Here, you may set the LowLimit and HiLiroit for the parts. To create a keysplit, you would 
normally assign two programs to two parts, assign them to the same MIDI channel and then set 
an appropriate keysplit (i.e. Part 1 : C0-B2 and Part 2: C3-G8). More details on setting up key 
splits is given later in this section. 



S3200XL Operator's Manual - Version 1.00 



Page 41 



MULTI MODE 



SETTING A PART'S PRIORITY 

When sequencing multi-timbrally, you may need to give certain parts higher or lower priority to 
prevent 'note stealing' when the 32-voice limit is exceeded. This is done in the PRIO(rity) 
page: 



[MIIE MULTI FILE 


Ch 


Priority 


1 TEST PROGRAM 


i 


NORM 


2 ? 


2 


NORM 


3 ? 


3 


NORM 


4 ? 


4 


NORM 


5 ? 


5 


NORM 


■3E1 mm ESEH rasraa prig rnrm emb EUD 



The choices available are: 



LOW 



If the program is set to LOW priority, then notes from this program will be stolen 
first. 



NORM NORM is, of course, normal priority and sets standard dynamic voice allocation 

and note stealing will take place with no particular priority. 

HIGH If set to HIGH, then notes from other programs with lower priority will be stolen 

first before they are stolen from this program. 

HOLD If a program's priority is set to HOLD, then notes can only be stolen from this 

program by the same program. 

If you are playing a complex piece of music using many programs in a multi-timbral 
configuration, it is a good idea to set important programs to HIGH or HOLD and less important, 
background programs to LOW. If the piece of music is not overly complicated and polyphony is 
not going to be exceeded, you may prefer just to leave the priority at the default setting of 
NORM. 

INITIALISING A PART 

There will be times when you want to reset a part to its default values. To do this, move the 
cursor to the part you wish to initialise (any fiied will do) and press F6 (IIMITI) in any of the 
MULTI pages. This will reset all the parameters described above to their default values and will 
clear the program name field, leaving it blank. 



Page 42 



S3200XL Operator's Manual - Version 1.00 



MULTI MODE 



SETTING UP A MULTI 

Assigning programs to a multi is simplicity itself. You simply move the cursor to the appropriate 
part and selecting the program using the DATA control. To set parameters such as level, pan, 
etc., move the cursor to the appropriate column and adjust the value for the selected part. The 
MULTI mode is always active for modifying with no special edit mode to enter. Let's now see 
how to make up a simple multi. 

Firstly, you need to load in a few sounds. Referring to the section that explains the LOAD 
mode, load a few programs. 



NOTE: It is suggested you use the IND P+S (individual programs and samples) selection. For 
the first program and samples you load, use the CLEAR option to clear out any junk that may 
be in memory. After you have loaded the first program and its associated samples, just use 
LOAD so that the new programs you load are added to the programs in memory. Load in 
something sensible. For example, load in a drum kit, a few acoustic and electric pianos, a few 
bass sounds and some string and/or pad sounds. We will use these sounds as the basis for 
this tutorial. 



Assuming that you now have some programs in memory (you can check this in SINGLE mode 
by scrolling through them with the DATA wheel), press MULTI. You should see something like 
this screen: 



HB MULTI FILE 


Ch Ley Pan Fx Send 


1 TEST PROGRAM 


1 99 MID OFF 00 


2 ? 


2 99 MID OFF 00 


3 ? 


3 99 MID OFF 00 


4 ? 


4 99 MID OFF 00 


5 ? 


5 99 MID OFF 00 


mix mm nnaia laaiaa laaig rrrrm laamsi ifirrn 



This is showing us that the multi currently in memory is called MULTI FILE, the default name 
given to a multi when you power up the S3200XL (you can rename it to something more 
suitable as we shall see later). It is also showing us that PART 1 has the default TEST 
PROGRAM assigned to it. Now, let's imagine we want to arrange our multi as follows: 



Parti 



Drums 



Part 2 


Piano 


Part 3 


Bass 


Part 4 


Strings 



After you have loaded some suitable programs and assigned them, you should end up with 
something like this: 



lillBIB MULTI FILE 


Ch 


Ley 


Pan 


Fx Send 


1 


DRUMS+PERC 


1 


99 


MID 


OFF 


00 


2 


AC. PIANO 


2 


99 


MID 


OFF 


00 


3 


BOSS 6UIT 


3 


99 


MID 


OFF 


00 


4 


UUeUiKHeM 


4 


99 


MID 


OFF 


00 


5 


? 


5 


99 


MID 


OFF 


00 


MIX EHM JHEB EflEg I331B 1 1 N I Tl EMU IMa 1 1 1 



On your sequencer, record a basic rhythm into the sequencer using the drums program so that 
you have a rhythm to play the other parts to and then overdub some piano chords, a bass part 



S3200XL Operator's Manual - Version 1.00 



Page 43 



MULTI MODE 



and string part. It was suggested that you have a few pianos, basses and string/pad sounds - 
this is so that we have a choice of alternative sounds for each part. 

MODIFYING THE MULTI 

The beauty of the S3200XL's MULTI mode is that, as the sequencer is playing back your 
sequence, you can interact with the parts, assigning different programs to parts 'on the fly' 
within the context of the sequence (you can also edit program parameters such as envelope 
and filter settings, etc., within the context of your tune as we shall see later). 

The MULTI mode has no separate edit mode (the EDIT key is used to edit the actual programs 
in the parts) so, as the song is playing from the sequencer, you can make changes immediately 
if needs be. For example, you might like to see how PART 2 sounds with different piano 
sounds - move the cursor to PART 2 and, as the sequencer is running, scroll through the 
different piano programs you loaded using the DATA wheel. You can try alternative piano 
sounds and hear how they sound. Do the same for the basses. For example, you may have 
loaded some acoustic basses, an electric bass, a slap bass and some synth basses - as the 
sequence plays, scroll through them, trying out different ones till you find one that suits the 
track. The same, of course, can be done with the string part. 



HINT: When loading the programs from disk, try to load certain types together. For example, 
load all the piano sounds you think you may need one after another so that they are all 
grouped together in memory. Similarly, load all your basses one after another so that these are 
all grouped together. This is suggested as it will make selection and comparison of different 
sounds in any given part easier. 

If you forget to load them in order, don't worry as you can renumber each program to 
something more suitable as we shall see in a moment. 



You may decide that you want the strings to play the same part in unison with the piano. To 
achieve this, simply set part 4 to MIDI channel 2, the same as the piano. 

You may also decide you want to add some percussion from the DRUMS+PERC program. You 
could do that in part 1 on MIDI channel 1 but, if you prefer, you may like to separate the drums 
and percussion so, in part 5, assign the DRUMS+PERC program. You will see this: 



Bum MULTI FILE 



1 
2 
3 
4 

5 



DRUMS+PERC 
AC. PIANO 
BASS QUIT 
STEREO STR 



DRUMS+PERC 



Ch Ley Pan Fx Send 



1 


99 


MID 


OFF 


00 


2 


99 


MID 


OFF 


00 


3 


99 


MID 


OFF 


00 


2 


99 


MID 


OFF 


00 


5 


99 


MID 


OFF 


00 



mix Era nana fsssa raaiii mrm isranrai it^tti 



Even though the same drums program is used twice in different parts, you may record 
sequence data on a separate MIDI channel (giving you more flexibility for editing the part on 
your sequencer) plus, the DRUMS+PERC program assigned to part 5 may have its own 
independent mix settings, effects sends, etc.. 



Page 44 



S3200XL Operator's Manual - Version 1.00 



MULTI MODE 



NAMING A MULTI 

You may wish to name the multi file to something more suitable. Simply press the NAME key 
and enter a name of up to 12 characters from the front panel keys. You will receive the usual 
naming prompts: 

| LETTERS ■ ■ tHRME for numbers EHT to exit7| 

Pressing the NAME key again switches the numeric keypad from letters to numbers and you 
will receive this prompt: 

| NUMBERS ■ ■ <!HRME for letters EHT to exit)| 

You may press NAME again to access the numeric keypad's letters. When in the 'numbers' 
mode, the +/< and -/> keys input V and "-' to a name. Pressing NAME again reverts you to 
entering letters from the numeric keypad. 

Alternatively, in conjunction with the CURSOR keys which can be used to move the cursor 
around within the name, you can use the DATA control to scroll through characters. 

Once you have completed the name, press ENT/PLAY to finish the naming process. 



NOTE: Because only one MULTI can exist in memory at any one time, you cannot copy the 
multi file, only rename it. As such, the COPY REN EXIT prompt we have seen elsewhere is not 
shown. 



SAVING A MULTI 

You may save a multi to disk and this will save the multi and all its associated programs very 
simply in the SAVE mode. You may then load this multi (and its associated programs) with one 
simple operation in the LOAD mode. Please see SAVE and LOAD for details on this. 

LOADING A MULTI 

To load a MULTI, press LOAD and select MULTI+PROGS+SAMPS as the type of load. Now 
move the cursor to the multi-file stored on the floppy disk/hard disk volume and press F8 
and/or F7. This will load the selected multi and any programs associated with it plus the 
samples used in those programs. 



S3200XL Operator's Manual - Version 1 .00 Page 45 



MULTI MODE 



RENUMBERING PROGRAMS 

There will often be occasions when you load in several programs, maybe from different disks or 
hard disk volumes and the programs you have loaded have the same program numbers or the 
numbers of the pr ograms you have loaded are not well ordered, etc.. To overcome this, F7 in 
the MULTI screen (EMU) takes you to the RENUMBER page: 



CHANGE PROGRAM NUMBER OF MEMORY PROGS 



* 



BIG STRINGS 
1 AC. PIANO 1 
1 DRUMS + PERC 

4 SYNTH BASS 

5 SLAP BASS 

CBLLH 



ISL1EI 




In this example, you have loaded a variety of programs some of which have the same program 
number, others of which are non-sequential. Ordinarily, this is not a problem and you can set 
up a multi very easily without even having to think about program numbers. However, in the 
MULTI mode, you can send program change commands over MIDI on selected channels to 
select new programs within one part (for example, send a MIDI program change command on 
MIDI channel 5 to select a new program in Part 5). If programs share the same program number, 
you will have a conflict (for example, send a MIDI program change command 1 where two 
programs share the program number 1 as in the above example, and only the first of the 
programs - i.e. BIG STRINGS - would be selected). 

To overcome this, use the RNUM page to renumber programs so that they are better 
organised for your use. 

Select the program to be renumbered using the CURSOR keys and alter the current number 
to the new number using the DATA control. You can also use the numeric keypad for this, 
setting the program number to a value of between 1 and 128 (these are MIDI specification 
limits). When you have altered the number, you have several options to choose from on soft 
keys 1 , 2 and 3. These are: 



CBLD 



This will set all programs to the same number as that set in the currently 
selected program. For example, placing the cursor on 4 - SYNTH BASS and 
setting that to 1 would renumber all the programs to program number 1 . 



NOTE: There is little benefit to be had doing this in MULTI mode. 



I5TTF1 



This causes all subsequent programs to be renumbered with an offset to the 
currently selected program. In the example given above, if you moved the 
cursor to program 4 (SYNTH BASS) and renumbered it to 10, SYNTH BASS 
will be renumbered to 10 and all subsequent programs (i.e. SLAP BASS and 
any others off the screen) will be renumbered 11, 12, 13, etc.. The programs 
lower than 10 would be unaffected. 



rsm 



This will only renumber the currently selected program. To specifically 
renumber a program, use the CURSOR UP/DOWN keys to select the program 
you wish to renumber, s et the new number using the DATA wheel or the 
numeric keypad and press I SET I. Only that program will be renumbered. 



Page 46 



S3200XL Operator's Manual - Version 1.00 



MULTI MODE 



EESQ1 



This is probably the best selection as it will simply renumber the programs 1-? 
sequentially regardless of the programs' original numbers. I.e.: 



CHANGE PROGRAM NUMBER OF MEMORY PROGS. 



* 



BIG STRINGS 
AC. PIANO 1 
DRUMS + PERC 
SYNTH BASS 
SLAP BASS 

rnrn 



ISLIFI 




Once you are happy with the result of your renumbering, press F7 to return you to the main 
MULTI screen display. 



If you change your mind and do not wish to renumber any programs, simply press I3SUI 
without pressing F3, F4, F5 or F6. 



S3200XL Operator's Manual - Version 1.00 



Page 47 



MULTI MODE 



IMPORTANT NOTES ABOUT MULTI PARAMETERS 

The parameters in the multi such as level, pan, tuning, etc., are unique to the multi and 
override any similar parameters in the program assigned to any part. 

For example, it is possible to set a pan position within a program. You may load a sound, the 
pan position of which is set to L50. However, when you first assign that sound to a part, the 
part will be set to MID, the MULTI's PAN setting. 

This has another implication. If you assign a sound to a part and set the part's pan position to 
R50, for example, if you then assign a new program to that part later on, the new program will 
also be panned to R50 within the multi. The same would be true of any of the other multi 
parameters such as level, FXsend, tuning, output assign, etc.. 

The reason for this is that, if you have assigned a sound to a part and set that part's parameters 
in a particular way, it is assumed that this is because you want it to sound that way. To use the 
example of panning again, let's say you assign a piano sound to a part and set the pan position 
to R25 - you might back the level off a bit as well. If you then feel that the piano sound is not the 
right one and want to try a different one, the new sound will be in exactly the same position and 
at the same level in the mix. If the multi always adopted the program's parameters when a 
sound is assigned to a part, selecting a new piano sound in this example would reset the part's 
pan and level parameters and you would then have to adjust these parameters. Then when 
you assign another new piano sound, you would have to reset the parameters all over again. If 
you have set many parameters like level, output assignment, FX routing and send levels, etc., 
all of these would need to be reset manually every time you assign a new sound to a part. 

The way the multi works means that once you have set the parameters for any of the parts, they 
remain constant regardless of which sound you place in them and you do not have to keep 
resetting them manually all the time. 

You will note that the above does not apply when setting up a multi-timbral set of programs in 
the SINGLE mode (i.e. using the 'old Akai' method). In SINGLE mode, as you select new 
programs and renumber them, so the program's parameters will be used. This may or may not 
be an inconvenience depending on the way you want to work. 



Page 48 S3200XL Operator's Manual - Version 1 .00 



MULTI MODE 



USING MULTI MODE FOR LAYERING PROGRAMS 

So far we have seen how to use the MULTI mode for creating multi-timbral set-ups for 
sequencing. For this, you set each of the sixteen parts to a unique MIDI channel so that can 
they may all be played from a sequencer outputting a complex arrangement with each element 
of the arrangement playing on a different MIDI channel. 

It is also possible, however, to use the MULTI mode to layer programs. By setting more than 
one part to the same MIDI channel as another, sending MIDI data on that channel will cause 
both parts to play simultaneously. For example... 

You have a string sound and a piano sound that you want to play together. Place the string 
sound into one part and the piano into another and set the same MIDI channel for both parts. 
Now, when you send MIDI data on that channel, you will play piano and strings together. Use 
the LEVEL parameter to set the balance of the two parts. 

Another use for this is to fatten up sounds. 

Let's imagine you have a synth bass in memory that you think could do with fattening up. 
Assign the sound to, say, PART 1 and also to PART 2. Now set those two parts to the same 
MIDI channel (for example, MIDI channel 1). When you send MIDI data on that channel, both 
parts will play. To add the 'fattening', go down to the TUNE page and detune the two parts 
against each other using the CENTS parameter (you could either set one part to +10 but a 
better idea is to set one to -05 and the other to +05). Now play them. In this example, one 
program has been layered on top of itself and detuned so that it sounds fatter and warmer. 
Experiment with the FINE TUNE settings of each part to achieve the sound you want. You may 
also like to experiment with the PAN settings of each part so as to achieve a 'pseudo stereo' 
effect. 

Another example may be to create a 12-string guitar out of an ordinary acoustic guitar program. 
Place the guitar program into two parts and set the same MIDI channel for those parts. Now go 
to the TUNE page and set one of the programs an octave up (set a transpose value of +12) and 
try a bit of fine tuning to create the characteristic chorus effect. 

Of course, the same can be done with any sound from synths to strings or brass or vocal 
sounds - anything in fact! 

But why stop there! You can layer three parts if you wish. For example, layer two string sounds 
in the same way by assigning one strings program to two parts, giving them the same MIDI 
channel and detuning them. Now take a bell sound and place that in a part and assign the same 
MIDI channel as the strings. Now when you send MIDI data on that channel you will have 
detuned strings and bell. Experiment with tuning and panning too (for example send one 
strings sound left, the other right and keep the bell sound in the centre). 

You might like to try layering more parts. For a really killer sound, why not try layering 16 
programs on top of each other! 



NOTE: When layering programs in this way, please note that polyphony is reduced. In the 
example of layering strings and piano or the bass synth program, total polyphony will be 
halved. In the case of layering three sounds, polyphony will be cut to around ten voices. If 
you're mad enough to try layering 16 programs, polyphony will be reduced to one voice! 



S3200XL Operator's Manual - Version 1 .00 Page 49 



MULTI MODE 



USING MULTI MODE TO SET KEYBOARD SPLITS 

Using the same techniques for layering programs described above, you may also set key splits. 
For example, you may have an acoustic bass sample and a piano which you want to set up so 
that the bottom two octaves play the bass sound and the upper three octaves the piano. 

Assign the bass to one part and the piano to another and set both parts to the same MIDI 
channel. Now go to the RANGE page and in the bass part, set the LouLinut to C and the 
HiLiroitto B2 and in the piano part, settheLowLinitto C3 and theHiLiroitto G 8. You will 
now have the following keysplit: 



PIANO 



PART 1 MIDI Ch 1 



C3 



G8 



BASS 



PART 2 MIDI Ch 1 



CO B2 

You could take this a stage further and add strings to the whole things. I.e.: 



PIANO 



PART 1 MIDI Ch 1 



C3 



G8 



BASS 



PART 2 MIDI Ch 1 



CO 



B2 



STRINGS 



PART 3 MIDI Ch 1 



CO G8 

You could create an even more sophisticated split: 



PIANO 



C3 B4 



BASS 



CO 



B2 



BRASS 



PART 1 MIDI Ch 1 



PART 2 MIDI Ch 1 



PART 3 MIDI Ch 1 



C5 G8 

In this example, we have bass on the bottom octaves, piano between C3 and B4 with some 
brass on the very top octaves. 

There are even more possibilities. For example, by putting the piano into PART 4 as well on 
the same MIDI channel and detuning it against PART 1 , you could create a 'honky tonk' piano 
effect on MIDI channel 1 . Similarly, if the bass part is a synth bass instead of acoustic bass, you 
could also assign that same bass sound into PART 5, set the same MIDI channel and LO/HI key 
ranges as PART 2, detune it and pan it hard left and hard right to create a pseudo stereo 
detuned synth bass sound in the bottom octaves. 

The possibilities are almost endless (up to the 16 part limit in fact)! 



Page 50 



S3200XL Operator's Manual - Version 1.00 



MULTI MODE 



And don't forget... 

Layers and splits may be sent to different effects in varying amounts to create even more 
variation. In the case of layering one program on top of itself, you might find sending parts to 
same effects processor is sufficient but, in the case of layering different sounds on top of each 
other (for example, bells and strings), the strings could be sent to one effects processor and 
the bell to another. In the case of key splits (let's use the above as a good example) the bass 
could be routed to a small room, the piano to a large hall and the brass to a chorus/delay/small 
hall multi-effects channel. 

Alternatively... 

Each of the elements in a layered or split multi could be assigned to separate outputs where 
they may be mixed and processed on an external mixing console. 

COMBINING THESE TECHNIQUES 

The S3200XL's MULTI mode is so flexible that it can accommodate all of these techniques 
simultaneously. For example, PARTs 1, 2 and 3 could have layered programs on one MIDI 
channel whilst 4, 5 and 6 have parts on separate channels. PARTs 7 and 8 could be set to the 
same MIDI channel but have key splits set whilst PARTs 9-11 could have parts on separate 
channels. Some could be sent to the internal effects, other to individual outputs. For example: 



PART 


MIDICH 


TRANSPOSE 


FINE TUNE 


PAN 


FX BUSS 


FXSEND 


OUTPUT 


L£> HI 


1 


1 


+12 


+00 


MID 


A 


12 


OFF 


CO G8 


2 


1 


+00 


+05 


L50 


A 


23 


OFF 


CO G8 


3 


1 


+00 


-05 


R50 


A 


34 


OFF 


CO G8 


4 


2 


+00 


+00 


MID 


OFF 


00 


01 


CO G8 


5 


3 


-12 


+00 


L23 


B 


45 


OFF 


CO G8 


6 


4 


+00 


+00 


R45 


C 


56 


OFF 


CO G8 


7 


5 


+00 


+00 


MID 


A 


17 


OFF 


CO B2 


8 


5 


+12 


+03 


MID 


A 


17 


OFF 


C3 G8 


9 


6 


+00 


+00 


MID 


D 


23 


OFF 


CO G8 


10 


7 


+00 


+00 


MID 


D 


45 


OFF 


CO G8 


11 


8 


+00 


+00 


MID 


OFF 


00 


02 


CO G8 


12 




13 


14 


15 


16 



















S3200XL Operator's Manual - Version 1.00 



Page 51 



EDIT PROGRAM - SINGLE 



PROGRAM EDITING 

Once you have a few programs in memory, it may be that you need to edit them to make them 
more suitable for your application. They may need simple tweaking such as altering the attack 
times or the filter cutoff or adding a bit of vibrato. You may want to totally re-program the sound 
or create a new program for the latest batch of samples you have made. Whatever it is you want 
to do with a program, all this is done in EDIT PROGRAM. But before we look at the program 
editing functions, let's first look at what a program is. 

A program is where you assemble your raw, edited samples for playback. In the SAMPLE 
mode, the samples are unprocessed by envelopes, vibrato, etc.. If they have been looped, it is 
quite possible they have lost all their dynamics - this can be overcome in a program. 
Furthermore, because of powerful synthesiser functions, the S3200XL can be used to play 
and process samples much like an analogue synth. With two low frequency oscillators (LFOs), 
an ADSR and two multi-stage envelope generators, resonant multi-mode filters, panning and 
more, the S3200XL can radically transform any sound offering the creative musician and 
programmer endless possibilities. In short, what it means is that as well as owning a superb 
sampler, you also have a very excellent and versatile analogue style synthesiser. 

On top of this, you may set sophisticated keyboard splits and layers, set velocity switching and 
crossfading, assign samples to individual outputs and/or pan them in the stereo outputs as well 
as tune and transpose your samples. You may also set MIDI parameters for your sample(s). 

"But", you may be asking "why have programs? Why not just play samples from EDIT 
SAMPLE?" A good question. The reason we have programs is because raw samples, however 
much you may have trimmed, looped, crossfaded, stretched, etc., are only half the story. In 
EDIT SAMPLE, you can only play one sample at a time spanning the entire keyboard range 
whereas in a program, you can assign them to different areas of the keyboard for playback. This 
is known as 'multi-sampling'. 

Multi-sampling is the technique where you take several samples of one instrument across its 
range or where you take several samples of different instruments (such as drums, for example). 
Aside from all the fun things you can do with envelope shaping, filtering and so forth, it is in a 
program that you map all these multi-samples across the keyboard. To do this, we place the 
samples into what we call KEYGROUPS. 



Page 52 S3200XL Operator's Manual - Version 1 .00 



EDIT PROGRAM - SINGLE 



WHAT IS A KEYGROUP? 

A KEYGROUP is precisely that - a group of keys which have a particular note range on the 
keyboard. The simplest program you can have is with one keygroup in it that spans the entire 
MIDI range on C0-G8. The TEST PROGRAM that always boots up into the S3200XL is just 
such a program. I.e: 



KEYGROUP 1 




i 



Perhaps the next level up is to have a program with two keygroups. One covers the range C0- 
B2, the other C3-G8 - this would be a simple keyboard split. I.e: 



KEYGROUP 1 KEYGROUP 2 


iiiiiiiiiiiii 



The next level may be a program which has five keygroups - one for each octave on a normal 
synth keyboard. Such a program may be useful for something like piano or strings which have 
been sampled on the G of every octave. I.e: 



KG1 KG2 KG3 KG4 KG5 


iiiiiiiiiiiii 



After that, of course, it's anyone's guess what the next level may be but it could be something 
like this: 




Here we have 17 keygroups in one program - some are assigned to individual keys whilst some 
span an octave or so. Hopefully, you can now get a feel for how flexible the keygroup 
assignment can be. But there can be more to it than that. 



S3200XL Operator's Manual - Version 1.00 



Page 53 



EDIT PROGRAM - SINGLE 



KEYGROUP ZONES 

Within each keygroup, you may assign up to four samples in what are referred to as ZONES. 
These can be used for a number of things that include velocity switching and crossfading, 
playback of stereo samples and layering. 

To playback stereo samples or to layer sounds or just to do a simple velocity switch/xfade, you 
could have something like this: 



1 1 1 1 1 1 
KG1 KG2 KG3 KG4 KG5 J 


iiiiiiiiiiiiiiiiiiiiii 



Here we have five keygroups, each with two zones being used. You could use this type of 
assignment for playing back stereo samples where the left and right samples are assigned to 
their own zones (1 and 2 respectively) in one keygroup and each zone is panned hard left and 
hard right. As an example, you could have five stereo string samples each sampled at G on 
every octave which could be assigned into such a program. 

This kind of program is also suitable for layering sounds on top of each other. In the above 
example, four synth samples could be mapped out on the keyboard (one for each octave, 
perhaps) and zone 2 of each keygroup could also contain the same sample as zone 1 and 
these could be panned and detuned for a fat, pseudo stereo layered synth sound. Of course, 
each zone could have different synth sounds in them. 

This type of program is also suitable for a two way velocity switch - by setting zone 1 of each 
keygroup to a velocity range of 0-90 and setting zone 2 to 91-127, you could, for example 
switch between a thumbed bass and a slapped bass or a normal snare hit and a rim shot using 
velocity. 

To round things off, each keygroup has no less than four zones and a program may 'look' 
something like this: 




Here, we have five keygroups, each using the four zones. This may be for a four way velocity 
switch or for velocity switching between two stereo samples or for layering four samples 
together. 

The ultimate program, would be for each key to have its own keygroup with each keygroup 
containing four samples using a four way velocity switch! 



Page 54 



S3200XL Operator's Manual - Version 1.00 



EDIT PROGRAM - SINGLE 



OVERLAPPING AND CROSSFADING KEYGROUPS 

So far we have seen keygroups side by side. This is usually fine for most applications but there 
are sometimes occasions where the abrupt transition between one keygroup and another can 
be a bit obvious. For example, in a strings program where you have five string samples each at 
the G of every octave, the transition between B2 and C3 may sound a little strange. 

The reason for this will normally be that the G2 sample is transposed up by four semitones at 
B2 and so sounds a little brighter whilst the G3 sample is being played 7 semitones down so it 
may sound a little duller and so, next to each other, especially when playing a scale, the 
crossover point is not even. 

To overcome this, we can overlap keygroups simply by setting their key ranges accordingly: 




It may be, however, that this does still not overcome the problem and so there is a facility to 
crossfade keygroups for an even smoother transition where one keygroup gradually fades 
down through the overlap whilst the other fades up thereby giving a smooth transition. I.e: 



■iiiiiiiii 



Of course, you can use a combination of any of the above techniques and have crossfading, 
velocity switched keygroups in programs alongside layered and split keyboard assignments. 
The above diagram examples represent only part of the flexible program editing and multi- 
sampling potential of the S3200XL. 

If all this seems very confusing, don't worry for the moment. There are many easy routines in 
EDIT PROG that allow you to edit all keygroups simultaneously or to copy keygroups. Key 
ranges can be conveniently set by playing your MIDI keyboard if you wish and, within a short 
time, you will be making programs very quickly and easily. 

If you have already owned an Akai sampler, then you will probably be familiar with a lot of what 
we have just seen but, if this is your first time with an Akai sampler, it is worth taking the time to 
get a fairly good understanding of these principles and the concept of keygroups if you are 
going to get the best out your sampler. 



S3200XL Operator's Manual - Version 1.00 



Page 55 



EDIT PROGRAM - SINGLE 



ASSIGNABLE PROGRAM MODULATION 

First introduced on the Akai S2800, S3000 and S3200, the S3200XL has Assignable Program 
Modulation (or APM for short) and this allows you to route virtually any controller (such as the 
LFOs, envelope generators, MIDI controllers such as modwheel, pitchbend, etc.) to a number 
of destinations (pitch, amplitude, tone, etc.). Many synthesisers have had such facilities before 
but it is uncommon on samplers and APM turns the S3200XL into a powerful synthesiser as 
well as offering a great deal of flexibility in the manipulation of acoustic samples. 

In the early days of synthesisers, each building block of sound was referred to as a 'module' 
and it was possible to route any module to any other using patch cords. This was called 
'modular synthesis'. On the S3200XL, each 'module' (i.e. the filters, amplifiers, pitch inputs, 
LFOs, envelope generators, etc.), has several control inputs and, although we don't use patch 
cords, controllers may be freely assigned to these modules. On other samplers (and indeed 
even some synthesisers), these control inputs are fixed - that is, you have no choice as what 
you can send to them. Whilst acceptable a lot of the time, this can be a bit frustrating when 
there is some specific sound you want to make or musical effect you want to achieve. 

Here are some examples: 

You may route the mod wheel to open the filter in a brass program for swells and growls. 
You could use aftertouch for the same effect. 

You could route aftertouch to control the panning's LFO speed to emulate the sound of a 
rotary speaker speeding up and slowing down in a classic rock organ sound. 

The multi-stage envelope generator ENV3 could be routed to pitch for special effects 
whilst, at the same time LF01 (whose rate may separately be being controlled by the 
modwheel) is being routed to a resonant filter cutoff. 

You could use ENV3 to control LF01 depth for 'shaped' vibrato that fades in, fades out 
and fades back in again. 

To reduce the 'cyclicness' of normal vibrato, you could modulate LFOI's rate very slightly 
with LF02. 

It is possible to 'trigger' the RANDOM wave from the keyboard so, if LF02 is applied to 
filter, each note can have a totally random tone. With LF02 applied to panning, each note 
will appear at a randomly different position in the L/R stereo field (great when sequencing 
or arpeggiating percussive sounds) 

All sorts of things are possible from the subtle to the ridiculous! We are the first to admit that 
this kind of modulation is not that useful when trying to accurately recreate the sound of a 
Gamelan orchestra but, when the need arises to create that special sound or when your 
synthesiser just isn't up to it, the S3200XL will oblige you willingly - in fact, you may get so used 
to the S3200XL's versatility as a synthesiser that some of your current synth(s) may be in the 
classifieds sooner than you think! You may like to refer to Appendix 4 which shows what the 
S3200XL would look like if it was laid out traditionally like a synth. 



Page 56 S3200XL Operator's Manual - Version 1 .00 



EDIT PROGRAM - SINGLE 



This block diagram may help you to understand the concept of APM. 



EDIT PROGRAM 




FX SEND 
TO INT 
EFFECTS 



PER 
KEYGROUP 



TUNE 


-► 
-► 


SAMPLE 1 


TUNE 


SAMPLE 2 


TUNE 


SAMPLE 3 


TUNE 


SAMPLE 4 



12dB/8ve 

RESONANT 

FILTER 



KG PITCH 



rT 



VEL SW/XFD 



TTT 



FILT2 
TONE 



TTT 



AMP 



TT 



KEYSPAN 



ENV3 

IE 



ENV2 



PAN 



PAN 



PAN 



PAN 



ENV 1 



ENVELOPE TEMPLATES 



IND. OUT 1-8 



> IND. OUTPUT ASSIGN 



MASTER 
OUTPUT 



TTT 



AUTO 
PANNING 



TTT 



MASTER PROGRAM OUTPUT 



ASSIGNABLE PROGRAM MODULATION SOURCES 



ENV 1 


ENV 2 


ENV 3 


LF0 1 


LF0 2 



TTT 



MOD.WHL 


P. BEND 


PRESSURE 


KEY.POS 


VELOCITY 


EXT.MIDI 



KEY 



= SIGNAL FLOW 



= CONTROL INPUT 



The sources you have at your disposal are: 

No source It seems almost pointless explaining this one! It means no modulation source 

is routed! 

Modwheel This selects the modulation wheel as the control source. 

Bend This selects the pitchbend wheel or lever as the modulation source 

Pressure This selects aftertouch as the control source. This is channel aftertouch and 

not polyphonic aftertouch. 

External This selects the MIDI controller set in the external control field of the main 

GLOBAL - MIDI page. This can be any of the 128 defined MIDI controllers. 

Using a MIDI merger on your keyboard would allow you to merge, say, a breath 

— — — ■ , Lu ii L i ull ei w i l l i yuu i k e yUud i d. U& ei &ufLh e AKa i EW I M I D I ww iii U&j ii l lie & i & er will 

S3200XL Operator's Manual - Version 1 .00 Page 57 



EDIT PROGRAM - SINGLE 



no doubt be able to use this function to great effect when playing the 
S3200XL directly from the EWI. Some of the more esoteric MIDI controllers 
can usually be inserted as commands in your sequencer to control the 
S3200XL's 'modules' within a sequence. 

Velocity This selects velocity as the controller. 

Key This selects keyboard position as the modulation control source. 

Lfo1 This selects LFO 1 as the modulation source. LF01 may also be a modulation 

destination and it is possible to modulate its rate, depth and delay. 

Lfo2 No prizes for guessing that this selects LFO 2 as the modulation source. 

Env1 This selects the ADSR amplitude envelope, ENV1 , as the modulation source. 

Env2 This selects the multi-stage ENV 2 as the controller. 

Env3 This selects the multi-stage ENV 3 as the controller. 

! Modwheel This selects the current position of the modwheel at the time of note-on as the 
current controller. Moving it whilst the note is held will have no effect - it is only 
its position at the point of note-on that has the effect. 

! Bend As above, this selects the current position of the bend wheel at note-on as the 

controller. 

! External This selects the current position of the selected external MIDI controller at the 

point of note-on as the modulation source. These are selected in the MIDI 
mode. 

All of these are available to be routed in any amount to virtually any source which include filter 1 
and 2 cutoff, LFO 1 rate, depth and delay, overall program amplitude and keygroup amplitude, 
pitch and pan position. To select them, you simply move the cursor to the modulation input 
field found on every module and scroll through the list. Modulation sources may be mixed at 
each modules' input to further expand the possibilities available and each control input may be 
inverted for even more flexibility. 

Each keygroup has these modulation facilities available separately allowing an enormous 
amount of flexibility and this, combined with the all the other PROGRAM EDIT functions should 
keep you happy for a long time! 

At first, the modulation system may seem a little difficult and maybe even confusing. Don't 
worry - if you are not into programming you can largely forget about it and just use the defaults. 
Similarly, if you do not like synthesisers and prefer instead to use the S3200XL for the 
reproduction of high quality samples of acoustic instruments again, you need not concern 
yourself with these functions. If, however, you are one those who likes to experiment with 
sound and tweak those knobs, we feel sure you will appreciate the flexibility of this method. 



Page 58 



S3200XL Operator's Manual - Version 1.00 



EDIT PROGRAM - SINGLE 



NOTES ABOUT ASSIGNABLE PROGRAM MODULATION 

1. When loading S1000 or S1 100 library disks (which do not have APM), the S3200XL loads 
the assignments of the S1000/S1 100 - i.e. the fixed assignments. Again, as a result, you 
need not worry about having to set these assignments yourself. On library disks 
developed for the S3200XL, you will see the assignments made by our sound 
programmers. Please study these and see if you can learn from them. 

2. It is possible to route the same controller twice (or three times in some cases) to the same 
destination. This is not an oversight but simply a way to keep things simple and open 
ended. If you were, for example to route LF01 to filter cutoff three times at a value of +50 
you would simply get three times more LFO sweep. 

3. As just mentioned, you can route the same controller to the same destination several 
times. Please be aware that if you assign, for example, LF02 to filter cutoff twice and set a 
value of +50 and -50 respectively, you will get no effect as the two cancel each other out. 

4. You will note that assigning a particular controller to a destination WILL ROUTE THAT 
CONTROLLER TO ALL KEYGROUPS. The control inputs at any destination are not 
keygroup specific but affect all keygroups the same. 



S3200XL Operator's Manual - Version 1.00 



Page 59 



EDIT PROGRAM - SINGLE 



EDIT SINGLE 

EDIT SINGLE is used to create programs. In the S3200XL, we always use another program as 
the basis for a new one. There are several ways you can work this. 

You can use an existing program from your sound library that closely resembles the one you 
wish to create. In the main PROGRAM EDIT page, copy this to a new program. This may be 
edited accordingly with new sample(s) assigned, envelopes changed, filter cutoff altered, etc.. 

Alternatively, let us say you have just taken five samples - you can create a program from 
scratch using the default TEST PROGRAM. Using this single keygroup program you could 
work three ways - you could just have the one keygroup and set that up with one of the 
samples and then, when you're happy with that, copy that keygroup four times, assign the 
other samples to each one and set the appropriate key span. Each individual keygroup may 
then be refined according to the sample assigned to it. Alternatively, you could simply copy 
keygroup 1 four times and edit them simultaneously by selecting to edit ALL keygroups. The 
third method is where you copy keygroup 1 four times and work on each keygroup separately. 

Our sound library programmers have several ways in which they work and the fact that you can 
combine all methods makes the S3200XL very quick and convenient. 

In SINGLE mode, when you press EDIT, you will see something like this screen display: 



BagBaasEan program: H^Maaaaaaa -■ 



keygroups: 1 

samples: 1 

KG crossfade: OFF 

Mono Legato: OFF 



progs in mem: 1 
listen solo: OH 



name: TEST PROGRAM 
exists! 



main isaaa mm ghmi mni ism Emm cehzi 



In EDIT SINGLE, you may select other programs for editing as well as rename, copy and delete 
programs. 

In this way, EDIT SINGLE is used to edit programs in isolation. It is the ideal mode for creating 
new programs from scratch or for creating and/or editing programs prior to placing them into a 
MULTI. 



Page 60 



S3200XL Operator's Manual - Version 1.00 



EDIT PROGRAM - SINGLE 



NAMING PROGRAMS - COPYING AND RENAMING 

If you have already recorded your own samples, then this procedure should be familiar as it 
follows the same conventions. 

To copy or rename a program, press the NAME key - this turns the front panel keys into letter 
entry keys and you may type in a name of up to 12 characters (upper case only). The +/< and 
-/> keys on the numeric keypad may be used to input backspace and spaces respectively. 
When naming, you will see this prompt: 

| LETTERS ■ ■ tHRME for numbers EHT to ex7tT| 

Pressing the NAME key again switches the numeric keypad from letters to numbers and you 
will receive this prompt: 

| NUMBERS ■ ■ tHRME for letters EHT to exit>| 

You may press NAME again to access the numeric keypad's letters. When in the 'numbers' 
mode, the +/< and -/> keys input V and '-' to a name. Pressing NAME again reverts you to 
entering letters from the numeric keypad. 

Alternatively, in conjunction with the CURSOR keys which can be used to move the cursor 
around within the name, you can use the DATA control to scroll through characters. 

When you have entered your name, press ENT and you will get this prompt: 

| Select: ICDF71 ITFFTI l^7m | 

Pressing ICQFYI will copy the original program - use this to create a new program. 

If the program name is an existing one, the boxed area in the bottom right of the screen will 
show: 



nane: TEST PROGRAM 
exists! 



You will receive the following prompt: 

|" MUST USE fi DIFFERENT HRME !! | 

You must enter a unique new name. 

Pressing I REM I will simply rename the currently selected program with the name just entered. 
If the name exists, you will be prompted as above and you must re-enter a unique name. 

Pressing lex it I will exit the naming process altogether with no action taking place. Should 
you press this by mistake, you will see that the boxed area in the lower right of the screen still 
retains the new name you entered so press NAME immediately followed by ENT and make 
your choice again. 



S3200XL Operator's Manual - Version 1 .00 Page 61 



EDIT PROGRAM - SINGLE 



DELETING PROGRAMS 

It is possible to delete programs using the LCiELJ key - F8. Pressing this will give you the 
following prompt: 

| delete one program? GO ABORT! 

You should press F7 or F8 accordingly. If you press GO, you may receive the prompt: 

| delete 3 released samples? HO YES | 

This is asking if you want to delete the samples contained within that program as well. If the 
samples are used in other programs, then you will not receive this prompt. If you wish to lose 
the samples, press F8 - YES but if you need to keep them, press F7 - NO. 



NOTE: Deleting samples and programs is ultimately destructive. Please ensure that you have 
saved them to disk before deleting in case you want to come back to them at a later date. 



Page 62 S3200XL Operator's Manual - Version 1 .00 



EDIT PROGRAM - SINGLE 



The fields on the main EDIT SINGLE page are: 



program 

keygroups: 
samples: 



KG crossfade: 



Mono Legato: 



This shows the selected program name. Different programs may be 
selected for editing by scrolling with the DATA control. You may also 
select them using MIDI program change. 

This field is not accessible but shows the number of keygroups used 
in the selected program. 

This field is also not accessible and shows the number of samples 
used in the selected program. Please note that, because each 
keygroup has four zones, it is possible for there to be more samples in 
a program than there are keygroups. For example, a stereo program 
with 5 keygroups would typically show 10 samples (5 x L and R). 

This allows you to set crossfades for keygroups that overlap. As 
described above, this can be used to smooth out abrupt transitions 
between keygroups. You will note that this is a 'global' parameter that 
affects the whole program and so any keygroups that overlap will be 
subject to crossfading. 

This special function turns the program into a monophonic program 
with single triggering. The effect of single triggering is that if you hold 
one note and play another, the pitch changes to the new note but the 
attack of the new note is not re-triggered. For example: 




Even when Mono Legato: j s ON, playing each note separately will 
cause the attack of each note to be re-triggered. 




This function is extremely useful for emulating the playing styles and 
phrasing of solo instruments such as flutes, oboe, clarinet, 
saxophone, etc.. It can also be effectively used on solo and ensemble 
strings and brass. It is almost essential when playing synth bass 
sounds as it emulates the classic monophonic synth keyboard. You 
will find it useful too, when playing leadlines of any kind. Owners of the 
Akai EWI wind synthesiser will find this function invaluable in obtaining 
better expression and phrasing. 



S3200XL Operator's Manual - Version 1.00 



Page 63 



EDIT PROGRAM - SINGLE 



IMPORTANT NOTE REGARDING MONO LEGATO ON/OFF 

Because this function is playing a single sample (or group of samples when playing stereo or 
layered sounds) through the sustain or loop, if you were, for example, to do a long legato run 
from the top of the keyboard to the bottom, you would be transposing the original sample you 
started with several octaves down. For example, in a 7 keygroup flute program, if you were to 
start your run on C5 and finish at C2, the sound played on the last note would, in fact, be the 
C5 sample transposed 3 octaves down - the samples in the other keygroups would not be re- 
triggered as you cross the keygroup boundaries. As a result, if you sustained that last note, it 
may sound very strange indeed! Similarly, if you 'trilled' between C2 and C5, it would also 
sound quite odd (but then, so would a trill between C2 and C5!). This is brought to your 
attention so that you may make allowances when playing legato across keygroups. If you bear 
this in mind, you will find this function very useful and expressive. 

There is a way around this using the KEYGROUP MUTE function (see below). 



progs in men: This field is not accessible and shows you how many other programs 

are in memory at the time. 

listen solo: This field allows you to select whether you wish to listen to other 

programs that have the same program number as you edit the 
currently selected program. The selection is ON or OFF. When 
listen solo: is switched to ON, you will only hear the currently 
selected program and when it is OFF, you will be able to monitor any 
other programs that share the same number. 



NOTE: This function is only really of relevance of you are using the 'old Akai' method to 
sequence programs sharing the same program number. 



Page 64 S3200XL Operator's Manual - Version 1 .00 



EDIT PROGRAM - SINGLE 



The soft keys along the bottom of the PROGRAM EDIT main screen are: 

MAIN This shows the currently selected MAIN PROGRAM EDIT page. 



This takes you to the parameters concerned with individual 
keygroups. These include the keyboard spanning, filters, envelopes, 
sample assignments, pitch and level adjustments, individual output 
assignment, etc., for individual keygroups. 

liHl!l This takes you to the pages where you may set program modulation 

parameters such as pitch bend ranges, LFO 1 and LFO 2 parameters 
and parameters for the sostenuto pedal functions. 

lilim This takes you to the MIDI page where you may set the program's MIDI 

channel, polyphony, transpose and other functions. 

This takes you to the OUTPUT page where you may set the program's 
overall level, individual output assignment, effects send level, pan 
position and other parameters. 

USSSM This takes you to the AUTO PAN section where you may set 

parameters that affect the program's auto pan functions. 

EEEI1 This takes you to the TUNE pages where you may set the program's 

overall tuning as well as select and create alternative tunings and 
temperaments. 

LCiELJ This is not a page key but an 'action' key for deleting programs. Its 

function is described above. 

We will now look at the f u n ctio ns ofthese pages . W e will sk ip US333 and lilim for the moment 
and look at the function of lilUll UUU, MSSSM and DUES first as these affect the program as a 
whole. 



S3200XL Operator's Manual - Version 1 .00 Page 65 



EDIT PROGRAM - SINGLE 



MIDI PAGE 

Pressing UI19I displays this screen: 



IEIiafl:-laM:M!Hal (PROGRAM) ■ OX 


program number: 1 


PLflY-RflNGE 


MIDI channel: 1 


low high 


polyphony: 32 


C_0 6_S 


priority: NORM 




reassignment: OLDEST 


transpose: +00 


KEflfl 13933 KEE1 MIDI EQEI ESSE BESS 



The top line of this page contains a field which allows you to change the program currently 
being edited. You may select different programs for editing here if you wish. 

The parameters on this page are as follows: 



program number: 



MIDI channel: 



polyphony: 



This field allows you to set the program number of the program. This is 
the number which will be called up on receipt of a MIDI Program 
Change message and corresponds to a patch number on a 
synthesiser. 

This parameter selects the program's MIDI channel! The choice is OM 
(omni) and 1 to 16. 

This allows you to select how many notes (1 to 32) can be played at a 
time by this particular program. This should normally be left at the 
default, 32. 



NOTE: This parameter should normally be set to the default of 32. Its inclusion here is mostly 
for historical purposes. On the S1000/S1100 (and early versions of software for the S2800, 
S3000 and S3200), it was common to use this parameter for hi-hats and the like layered over a 
drums program (i.e. the hi-hats would be set to a polyphony of 1 voice so that the closed hi-hat 
shut off the open hi-hat). With the MUTE GROUP function, however (see later in this section), 
this parameter is not used so much but is retained should you load an old S1000/S1 100 or 
early S2800, S3000 or S3200 sound library disk. 

A description of the MUTE GROUP function is given later in this section. 



priority: 



reassignment: 



This allows you to specify how notes will be 'stolen' by other programs 
if this is necessary. There are four settings: LOW, NORM, HIGH and 
HOLD. If a program is set to LOW priority, then notes from this 
program will be stolen first. If set to HIGH, then notes from other 
programs with lower priority will be stolen before they are stolen from 
this program. NORM is, of course, normal priority and, if any note 
stealing has to take place, this program will be affected no more or less 
than others with NORM assignment. 

If you are playing a complex piece of music using many programs, it is a 
good idea to set important, lead-line sounds to HIGH, and less 
important background programs to LOW. 

HOLD is a special priority. If a program's priority is set to HOLD, notes 
from this program can only be stolen by the same program. 

The notes which will be stolen are determined by this parameter - 
either the OLDEST note will stop playing when a note is stolen or the 
QUIETEST one. 



Page 66 



S3200XL Operator's Manual - Version 1.00 



EDIT PROGRAM - SINGLE 



PLflY-RflNGE 
low high 



transpose: 



This allows you to set the overall keyboard range C0-G8 of the 
program and this will override any keygroup range settings made in 
the keygroup SPAN page. For example, even though your program's 
keygroups may extend up to G8, if you set, say, C4 as the high 
extreme in this field, no sound will be heard above C4. You may use 
this function to create keyboard splits with other programs of the same 
program number. 

This allows you to transpose the program +/-50 semi-tones in semi- 
tone increments. You will note that this is not a pitch shift function as 
such but a MIDI transpose function - this overcomes the problem of 
playing back samples out of their range. What this function does is 
introduce an offset so that, with a +12 setting, even if you play C3 on 
the keyboard, this is offset to play the samples on C4 - it is not playing 
the samples on C3 an octave higher. 



NOTE: Most of the parameters in this page are retained for compatibility with data created on 
earlier Akai samplers. When editing a program in MULTI mode, the MIDI channel, priority, play 
range and transpose functions are not shown here as these parameters are irrelevant, being 
overridden by the MULTI's parameters. 

However, if you are using the 'old Akai' method for multi-timbral sequencing, you will want to 
set the parameters shown above (although they may be more easily set in the SINGLE mode 
on the MIDI page). 



S3200XL Operator's Manual - Version 1.00 



Page 67 



EDIT PROGRAM - SINGLE 



OUTPUT LEV ELS P AGE 

Pressing the HUM button takes you to the OUTPUT LEVELS page where you can control the 
audio output of the program from the S3200XL. You will receive this screen display: 



OUTPUT LEUELS 



OUTPUTS 
stereo leuel: 99 
stereo pan: MID 
indiu:OFF ley: 99 
FX bus: OFF send: 00 



< PROGRAMS ■laaMaailflSETSl 0* 



LOUDNESS CONTROL 

basic loudness: SO 

velocity > loud: +20 

Key > loud: +00 

Pressure > loud: +00 



KEflfl 13933 KEEl 19091 out EEHIEM9 



At the top right of the screen is the currently selected program name - in EDIT SINGLE, this 
may be changed and another selected for editing by scrolling with the DATA control. 

The parameters on the left of the screen set parameters concerned with output routing and 
levels, etc.. They are as follows: 

stereo leuel: This sets the level 0-99 of the program as it appears at the L/R stereo 

outputs. Adjusting this has no effect on the level of the signal 
appearing at the individual outputs or the real-time digital outputs. 

By setting this field to 00, you may use this parameter to mix a program 
out of the L/R mix completely if you are sending it to an individual 
output (see below). In this way, you may have some programs 
appearing only at the L/R outputs with other programs appearing only 
at the individual outputs. 

stereo pan: This sets the overall pan position of the program. You can set the 

parameter L50-MID-R50. You will note that this may be affected by 
other pan settings elsewhere in the program such as when the auto 
pan facilities are used or when individual keygroups are panned. 

You will note that this parameter also affects the level of the signal 
appearing at the individual outputs (see below) and at the real-time 
digital audio output. 

indiu: This allows you to select which of the 8 individual outputs the whole 

program will appear at. The default is OFF and you may select 1-8. You 
will note that these outputs are polyphonic and can use the full 32- 
voice polyphony of the S3200XL. 

NOTE: This parameter works in conjunction with a field found in SMP2 (see later) where it is 
possible to route single keygroups to the individual outputs 



ley: 



FX bus: 



send: 



This sets the level 0-99 of the signal appearing at the output selected 
above. If OFF is selected, then this control has no effect. 

This sets the FX channel the program is routed to. You may select 
OFF, FX1 , FX2, RV3, RV4 

This sets the effects send level 0-99 going to the selected effects 
channel 



Page 68 



S3200XL Operator's Manual - Version 1.00 



EDIT PROGRAM - SINGLE 



The parameters down the right of the screen allow you to affect the overall loudness of the 
program. 

basic loudness: Here you may set the overall output level 0-99 for the program. This 

also affects the program's sensitivity to velocity and you will note that if 
this parameter is set to 99, the program will be quite loud but will have 
no velocity sensitivity. 

The default for this parameter is 80. This offers the optimum range for 
velocity and other dynamics. Setting it higher than this will, of course, 
turn the overall level up but it will reduce the amount of overhead for 
dynamics. Reducing this parameter will give greater extremes of 
velocity range although please note that you will not be using the full 
resolution of the sampler's dynamic range. 

There are three loudness modulation inputs and each one has a default controller selected. If 
you wish, these need not be changed - it is only in more specialised applications that you may 
wish to set something other than these defaults. The defaults are: 



velocity > loud: 



This is a fixed assignment and sets how much velocity will affect the 
overall loudness of the program. You may set a value of ±50. The 
default is +20 which gives a sensible dynamic range although this may 
be changed if you wish. A setting of +50 will give you a very wide 
dynamic range where soft key presses will produce virtually no sound 
and hard key presses will output a very loud sound. A setting of -50 
will give the opposite effect - a hard key press will produce virtually 
nothing whilst a soft key press will give a loud output. At first, this may 
seem a bit strange to allow this but this does enable you to crossfade 
between programs using velocity - i.e. set one program to +50 and the 
other to -50. 



NOTE: You cannot select any other modulation source in this field. This is one of only two 
fixed assignments in the APM system. 



Key > loud: 



Pressure > loud: 



This sets how much key position will affect the overall loudness of the 
program. You may set a value of ±50. When set to positive value, the 
sound will be louder in the upper reaches of the keyboard and by 
setting it to a negative value, the sound will be louder on lower notes. 
You may use this function to balance the program level across the 
keyboard. 

You may change the default modulation source from Key to anything 
you like simply by placing the cursor where it says Key and scrolling 
through the modulation options. 

This sets how much pressure or aftertouch will affect loudness after a 
note has been played. You may set a value of ±50. Positive values will 
cause the sound to get louder as you press harder on the keyboard 
and negative values will, of course, have the opposite effect. You may 
use this function for expressive phrasing of such instruments as 
strings, vocal, wind and other such instruments to great effect. 

By layering two programs and setting opposite values (i.e. + 50 on 
one program and - 50 on the other), you may use this function to 
crossfade between them using pressure. As an example, you could 
layer a distorted guitar program and a distorted feedback program and 
introduce the feedback element of the sound using pressure to 
create a powerful heavy metal guitar. 



S3200XL Operator's Manual - Version 1.00 



Page 69 



EDIT PROGRAM - SINGLE 



You can, of course, change the default selection from Pressure to 
anything you like simply by placing the cursor where it says Pressure 
and scrolling through the modulation options. 

The effect the loudness modulation parameters have on the overall loudness of the program 
depends on the modulation source you select. Here are some suggestions: 



LFO 1 or 2 



This will impart a tremolo effect on the sound and so is useful for 
simulating old rock and roll guitars where this effect was common in 
amplifiers. This may also be useful in simulating the tremolo effect 
found on organs. It may also be used to simulate the tremolo effect of 
woodwind on sustained notes. Using a triangle wave for modulation, it 
is particularly good for vibes sounds, especially those with a static 
loop. It is probably not suitable to simulate tremolando strings, 
however, using LFO modulation. Of course, it may be used for special 
effects. 



Modwheel 

Bend 

External 



Use this, perhaps, instead of pressure. 

Use this instead of pressure or modwheel. 

Depending on the selection made in the GLOBAL MIDI page's main 
page, you could apply any MIDI controller to control the program's 
overall loudness. The breath option will be very popular with owners of 
the Akai EWI MIDI wind controller. 



These three modulation input sources may be combined and mixed together. When layering 
programs in MULTI, identical mod sources in other programs may be inverted for crossfade 
effects. 



NOTE 1: You will note that if the loudness: parameter is set to full (i.e. 99) the output level of 
the S3200XL is at maximum and so you will not hear any effect if one or more modulation 
sources are applied. 

NOTE 2: In some cases it is possible to overload the S3200XL and cause distortion. This will 
normally only happen with particularly loud samples recorded at full level when excessive 
modulation is applied. Increasing the filter resonance may also lead to distortion in some cases. 
If this happens, back off the loudness: parameter. 



Page 70 



S3200XL Operator's Manual - Version 1.00 



EDIT PROGRAM - SINGLE 



PAN PAGE 

In this page you may set the characteristics of the auto panning functions. Pressing MSSSM will 
display this screen: 



H=EI ■:: PROGRAM) 



PAH MODULATION 
Lf o2 > pan: +00 

> pan: +00 

> pan: +00 



Key 
Modwheel 



KEflfl 13933 KEEl GUM! EEB pan BESS 



As usual, the program name of the program currently selected for editing is shown here which 
you may change if you like. As in the OUTPUT page, we have three modulation inputs which 
can control panning. The defaults for these three control inputs are: 



Lf o2 > pan: 



Key > pan: 



Modwheel > pan: 



This will produce the classic auto panner effect with the sound 
gradually moving between left and right at a rate set by LFO 2. You can 
use this for special effects, of course, but one popular application is to 
use it to simulate a rotary speaker effect. You may set a value of ±50. 

This selects that key position will affect overall loudness. You may set 
a value of ±50. With positive setting (i.e. +50) the sound will pan from 
left to right across the keyboard and, if set to a negative value (i.e. 
-50), will pan the sound from right to left across the keyboard. You may 
use this parameter to create pseudo stereo samples out of mono 
ones. For example, with samples such as piano or marimba or vibes, 
you could create the stereo effect of microphones being placed at 
either end of their keyboards to produce a panning effect. 

This allows you to control pan position using the modulation wheel. 
This could be put to good effect in a solo line, perhaps, where, every 
time you introduce vibrato via the wheel, the sound pans around the 
stereo image. You may set a value of ±50. 



NOTE: Due to limitations with the panning hardware, whilst slow sweeps work well, fast 
sweeps may, on some sounds, introduce some 'zipper noise'. Please be aware of this when 
setting pan modulation. 



As with all control inputs on the S3200XL, any combination of controllers can be mixed 
together. Here are a few suggestions: 



Bend 
Pressure 



Use this instead of modwheel perhaps. 
Use this instead of modwheel or bend. 



External 
Velocity 
LF01 



Use maybe a footpedal to pan the sound around. EWI players may use 
breath control. 

You can use your keyboard dynamics to pan the sound around with 
loud sounds appearing at one output and soft sounds at the other. 

Use this as an alternative to LF02. This LFO's extra facilities allow 
some very odd things to be done. Try applying this and modulating 
LFOI's rate with LF02 so that the pan from side to side gradually 
speeds up and down or modulate LFOI's rate with the modwheel to 
emulate the slowing down and speeding up of a rotary speaker in an 



S3200XL Operator's Manual - Version 1.00 



Page 71 



EDIT PROGRAM - SINGLE 



organ program (although the ROTARY SPEAKER effect in the effects 
processor is probably the best choice for this). 



ENV1/ENV2/ENV3 



Modwheel 



These may be put to good effect to pan the sound around according 
to the envelope of the sound. Perhaps ENV2 or 3 is the most 
interesting with its multiple rates and levels. 

Use this (and ! Bend or ! External) to reposition each new note 
according to the position of these controller. 



And don't forget that layering samples in zones and panning them to extreme hard left and 
right will cause the two samples to crossover in the stereo image when these effects are 
applied. Layering two programs and setting the modulation amounts to opposite values can 
also yield some interesting panning effects. 



Page 72 



S3200XL Operator's Manual - Version 1.00 



EDIT PROGRAM - SINGLE 



THE TUNE PAGE 

The next soft key is t he IIIIB H key and this takes us, 
tuning page. Pressing DBS! will give you this display: 



not surprisingly, to the main program 



HSEH < PROGRAM ) 


hl=ttflil;W:T:lyl -. 


C Ctt D Dtt E F 


Fit 6 Gtt R flit B 


+00+00+00+00+00+00+00+00+00+00+00+00 


Program tune: 


+00-00 


Tuning template: 


EUEH 


key: 


C 


KEIB1 13333 ImEjI GlIEH EEB B33 tune 



As usual, the program name is displayed at the top right of the screen 
selected if you wish. 



a different one may be 



In this page, you set up different tuning temperaments for each program, if desired. If you are 
playing a percussive sample (for example, congas) in one program, which you do not want to 
correspond to standard Western chromatic equal temperament tuning, this is where you can 
alter things. Select the program whose temperament is to be altered on the top line of this 
screen. Use the CURSOR keys to select the note on the keyboard octave which will be re- 
tuned, and use the DATA control to alter the tuning away from equal temperament by ±25 
cents (one quarter-tone). If you are re-tuning the C# key, for example, all notes played with the 
C# keys on the keyboard will be detuned by the amount you have set. You may tune the scale 
to anything you want which can be very useful for enriching orchestral sounds and also for 
setting your own special scales 

To help you with this, there are also some alternative tuning templates which are selected in 
the field Tuning template:. These offer preset tunings which you can apply to the program. 

The other parameter in this page is the Pnognan tune: function. This transposes the 
program +/-50 semitones. This may be adjusted in very fine steps (100ths of a tone) for fine 
tuning the program. 

Those, then, are the master pages for the program where you can set parameters that affect 
the program as a whole. In any of the pages described, you may always directly access another 
from the soft keys. 



S3200XL Operator's Manual - Version 1.00 



Page 73 



EDIT PROGRAM - SINGLE 



MODULATION PAGES 

The next group of pages we will look at also affects the program as a whole but also has a direct 
influence on individual keygroups. These are the modulation pages where you may set the 
parameters for the two low frequency oscillators and the pitch bend. You may also set the 
parameters for the sostenuto pedal. These modulation sources may be applied to the filter, 
loudness, pitch and panning for a wide range of the usual modulation effects such as vib rato or 
for more outrageous synthesiser effects. These pages are accessed by pressing the WEBBM 
key. 



Pressing the IMS key displays this screen: 



OSS!] (PROGRAM) 


li^flddUMdwISI OX 


PITCH-BEND 






Bendwheel up: 


2 




Bendwheel dn: 


2 




Pressure: 


+00 




Bend mode: 


NORMAL 




beiei bend ism nam smi hdmi 



PITCH BEND 

The first page we encounter is the PITCH page where you may set the parameters associated 
with pitch bend. As usual, you may select a program for editing at the top right hand of the 
corner. 



The pitch bend on the S3200XL allows you to set a different range for bend up and down as 
well as use pressure and a special mode is also available to make it more flexible. The 
parameters are: 



Bendwheel up: 



Bendwheel dn: 



This sets the range for bending pitch up with the pitchbend wheel or 
lever. The range is 0-24 semitones. The default is 2 semitones. 

This sets the range for bending pitch down and, again, the range is 0- 
24 semitones. The default is 2 semitones. 



Pressure: 



Bend node: 



As well as using the pitchbend wheel or lever, you may also use 
pressure to bend notes. The range is -12 to +12. You may only bend 
up or down depending on the selection made - unlike the bend 
wheel/lever, you cannot pitchbend both ways. 

This is a mode select option that allows you to choose whether the 
pitchbend will happen on all notes or only on held notes. This is 
particularly useful on sounds with long releases. The options are 
NORMAL and HELD. 



Let us say, for example, that you have a sound that has a long release 
and you are performing a solo that uses a lot of pitchbend. Using 
NORMAL, when you pitchbend the note, all the notes currently in the 
release stage of their envelope will also bend. Sometimes this is what 
you want but there can be times when this spoils the effect you are 
trying to create. 

By selecting the HELD mode of pitchbend, ONLY THE KEY(S) YOU 
ARE CURRENTLY HOLDING DOWN WILL BEND and all those notes 
you are not playing but which are fading through their release stage 
will remain unchanged. If you release your finger from the key with the 
pitchbend up (or down), as the note dies away, if you let the 
pitchbend return to zero, that last note's pitch will not change. If you 
release just one note of a chord with pitchbend up or down, if you let 



Page 74 



S3200XL Operator's Manual - Version 1.00 



EDIT PROGRAM - SINGLE 



the wheel or lever settle at zero, only the notes you are holding will 
bend. 

The pitchbend options on the S3200XL allow some very interesting performance techniques. 
By setting the pitch to UP: 2 and DOWN:12, with a heavy metal guitar sample, you can emulate 
string bending up and an octave 'whammy bar dive bomb' down. Many things are possible. 



S3200XL Operator's Manual - Version 1 .00 Page 75 



EDIT PROGRAM - SINGLE 



LF01 

Pressing 11301 will give you this screen display: 



IHUI (. PROGRAM} ■la^HaailEiST-lQI ov 


Uaueforn: TRIANGLE LFO desync: OFF 


FIXED UARIABLE 


EXTRA DEPTH 


speed: 50 key: +00 


noduheel: 30 


depth: 00 key: +00 


pressure: 00 


delay: 00 key: +00 


velocity: 00 


EElEHgaaa lfoi nana hum rasai 



This is the page used for setting up LF01 . Again, the program name is shown at the top right 
of the screen and other programs may be selected for editing if you wish. The parameters for 
LF01 are as follows: 

Uauef orn: This allows you to select from three waveforms. They are: 

TRIANGLE ( *\, ) - This gives a rising and falling effect. At around a setting of 
75, this would normally be used for vibrato but can be assigned anywhere you 
like and can be used for filter sweeps, panning, amplitude modulation and 
slow pitch sweeps. This is a 'bi-polar' modulation waveform that 'rotates' 
around the note you are playing to give a natural vibrato effect. 




SAWTOOTH ( A ) - This waveform is used mostly for special effects. It rises 
slowly and falls abruptly. This is a 'uni-polar' waveform that jumps between the 
held note and the modulation level set at the destination. 



AAA 



SQUARE ( Tj ) - This gives stepped 'up and down' effect. When applied to 
pitch it can be set to give trills or large octave jumps. This is a 'uni-polar' 
waveform that jumps between the held note and the modulation level set at 
the destination. 







\l_n_ 



LFO desync: 



RANDOM ("LnJ^rJ 1 - ) - This gives a totally random, stepped waveform and is 
suitable for special effects. The effect that immediately springs to mind, of 
course, is the classic 'sample and hold' effect found on analogue synthesisers 
- by routing this to pitch you can create random pitch effects suitable for, say, 
creating computer effects, especially when the LFO speed is set quite fast. 
When applied to the filter(s), you can create many interesting random tone 
change effects. You can even use this wave to control LF01 's rate so that not 
only will pitch, tone or whatever modulation input this LFO is assigned to be 
random but the speed of modulation will change randomly. 

This selects whether the LFO's (all 32 of them!) are synchronised or not. With 
LFO desync: ON, all the LFO's are not synchronised and so give a rich 
texture to ensemble sounds when being used for vibrato. When LFO desync: 
is set to OFF, all LFO's are in sync. This latter option is probably more suited to 



Page 76 



S3200XL Operator's Manual - Version 1.00 



EDIT PROGRAM - SINGLE 



use with synthesiser effects. You will find that slower LFO speeds are possible 
with LFO desync: set to off. 

The three fixed parameters for setting up LF01 are: 

speed: This sets the rate of LF01. This is variable between very slow (01) for such 

effects as auto panning and filter sweeps and fast (99) for vibrato and other 
effects. 

depth: This sets the output level of LF01. This acts as a master LFO modulation 

control for all destinations that have LF01 routed to them. In this way, if you 
wish to change the modulation level going to all destinations easily, simply 
change this parameter. The range is 0-99. 



NOTE: You may find that nothing happens when you route LF01 to a destination and set a 
modulation level at the destination's input. This will be because LF01 's depth is set to 00. This 
may seem a strange default at first but the reason is to do with the use of the modwheel for 
vibrato. In order to be able to have the modwheel for vibrato as an immediate effect, the LFO 
depth needs to be at 00 otherwise, there will be constant LFO modulation of pitch. It is only 
when you are using LF01 to apply a constant vibrato or for something other than vibrato in 
special applications that you will need to specifically set the depth control here. 



delay: This parameter sets the time it takes for the LF01 effect to take place after a 

note-on. At 00, the effect will be instantaneous but at 99 the effect of LF01 to 
take effect will be delayed. I.e: 




NOTE ON 



The three 'VARIABLE' fields apply to the modulation inputs of LF01 . Although not specifically 
named, they relate to the parameters directly to their left - i.e. speed:, depth: a nd delay:. The 
default for these parameters is key= so that you may affect speed, depth and delay according 
to keyboard position, thereby emulating the fact that, for example, high violins' vibrato is often 
slightly faster, deeper and less delayed than low cellos or contrabasses. These parameters 
allow you to create quite rich orchestral textures where vibrato is never constant across the 
keyboard range. 

Of course, you may select other modulation options for these inputs. Here are a few ideas: 

Using LF01 as an assignment to control its own rate will change the symmetry of the 
waveform and you can use this to create new modulation waveforms (i.e. using a square 
wave to modulate itself will create an asymmetric pulse wave). Using LF01 to modulate its 
own output level does create an effect but this can best be described as subtle! Applying 
LF01 to modulate its own delay is also very subtle to the point that, with the exception of 
very slow sweeps, you probably won't hear anything! 

Applying a slow LF02 to speed will give a gradual speed up and slow down of LF01 rate. 
This can be used for special effects, especially in synth sounds - for example, apply a slow 
LF01 mod to the filter cutoff and assign a slow LF02 to control LFOI's speed, setting a 
value of + 50. Assigning it to depth will cause the effect of LF01 to whatever destination it 
is applied to increase and decrease at a rate set by LF02. Applying LF02 to delay will only 
have an effect at the point of note-on. 



S3200XL Operator's Manual - Version 1 .00 Page 77 



EDIT PROGRAM - SINGLE 



Selecting ENV1 or ENV2 to control speed will give changes in speed according to the 
shape of the envelope. Applying it to depth allows you to 'shape' the output of LF01. 
Applying it to delay will have no effect. 

Selecting any of the continuous controllers will allow to change the parameters in real-time 
as you play. For example, routing modwheel to speed will let you change the modulation 
rate as you introduce vibrato (note that routing modwheel to control depth is not really 
worthwhile as this is a fixed assignment anyway in the EXTRA parameters described 
below). Assigning any of the continuous controllers to delay is not going to produce much 
effect except at the point of note on (pressure will have no effect on delay at all, by the 
way). 

Any of the '!' continuous controllers will only have an effect at the point of note-on. You 
may use these to set speed, depth and delay in real-time as you play. 

The EXTRA DEPTH parameters allow you to introduce more modulation and these have fixed 
assignments which are: 

rooduheel: This allows you to set the level of modulation that will be introduced via the 
modwheel. This works in conjunction with the depth: parameter. Even with 
depth: set to 00, you may still use the modwheel for vibrato and other 
modulation. With depth: se t at anything other than 00, this will set a basic level 
of modulation that will be present in the sound all the time and the modwheel 
will introduce more again. With the LFO depth: set at 99, the modwheel will 
have no effect because the LFO output is now at maximum. The default for 
this parameter is 30 so that modwheel is instantly available for vibrato without 
you having to do anything. 

pressure: As with modwheel:, this selects that pressure can be used to introduce 
modulation. The same principles apply that even with depth: S et to 00, you 
may still use pressure for vibrato and other modulation. With the depth set at 
anything other than 00, this will set a basic level of modulation and pressure 
will introduce more. With depth set at 99, pressure will have no effect because 
the LFO output is now at maximum. 

velocity: This allows you to use note-on velocity to introduce LF01 modulation. With a 
positive value set here, playing a note hard will introduce a level of modulation 
which may be augmented using the modwheel or pressure. 



Page 78 



S3200XL Operator's Manual - Version 1.00 



EDIT PROGRAM - SINGLE 



SETTING LF01 MODULATION DEPTH 

The master output of the LFO is set using the depth: control and this has to be set to 
something other than 00 for there to be any effect unless the modwheel is moved - you may 
assign the LFO to a destination and set that destinations modulation level to maximum only to 
find that there is no effect. The reason for this is that the depth: control in this page is not set 
or the modwheel is not up. 

A useful function of this master depth control is that in the case where you have applied LF01 
to several destinations and you wish to increase or reduce the level of modulation going to all 
the destinations, you may change the modulation level to all destinations with just the one 
depth: control instead of having to individually adjust every destinations' modulation input 
level. 



NOTE: Because it is felt that LF01 will mostly be used for vibrato effects, the default in the 
PTCH page (see later) is set so that simply setting a value in the depth: fj e id will apply vibrato. 
If you intend to use LF01 for something other than vibrato (i.e. slow filter sweeps, panning, 
amplitude modulation, etc.), then be sure to set the LF01 parameter in the PTCH page to 00 
unless you really want the sound of an American police siren I 

Once yo u have set the LF01 parameters, you may return to the main program edit page by 
pressing lilSllil. 



S3200XL Operator's Manual - Version 1 .00 Page 79 



EDIT PROGRAM - SINGLE 



LF02 

Pressing the l,a ™ key will take you to the second LFO page: 



IHIB1 CPRO 


GRflM> 
TRIANGLE 


u^MafflHiffiaa -■■ 


Uaueforn: 


speed: 


01 




depth: 


99 




delay: 


00 




ret rig: 


OH 




BEHa fssm mam lfo2 eb3j issst 



This is a simpler LFO for auxiliary modulation purposes. Whilst LF01 is normally used for vibrato 
via the modwheel or pressure, LF02 can be used for secondary modulation purposes such as 
filter sweeps, amplitude modulation, panning, etc.. As usual, the program name is displayed in 
the top right hand corner. The parameters are as follows: 

Uauef orn: This selects the modulation waveform. The choices are: 

TRIANGLE ( *v ) - This gives a rising and falling effect. At around a setting of 
75, this can be used for vibrato but can be assigned anywhere you like and 
can be used for filter sweeps, panning, amplitude modulation and slow pitch 
sweeps. This is a 'bi-polar' modulation waveform that 'rotates' around the note 
you are playing to give a natural vibrato effect. 




SAWTOOTH ( A ) - This waveform is used mostly for special effects. It rises 
slowly and falls abruptly. This is a 'uni-polar' waveform that jumps between the 
held note and the modulation level set at the destination. It can be inverted at 
the modulation input stages of each destination to give downward sweeps. 







AAA 



SQUARE ( Hj ) - This gives stepped 'up and down' effect. When applied to 
pitch it can be set to give trills or large octave jumps. This is a 'uni-polar' 
waveform that jumps between the held note and the modulation level set at 
the destination. Like the sawtooth wave, it can be inverted at the input stages 
of each destination. 



Y\S^ 



RANDOM ( "LnJ^rJ 1 - ) - This gives a totally random stepped waveform and is 
suitable for special effects. Like LFOI's RANDOM waveform, it can be used to 
create the classic 'sample and hold' effect found on analogue synthesisers. 

However, the random waveform provided by LF02 has some other 
possibilities. 



Page 80 



S3200XL Operator's Manual - Version 1.00 



EDIT PROGRAM - SINGLE 



When the speed: parameter is set to 00, the random steps will only change 
when a new note-on is received and will sustain at that level until a new note- 
on is received. I.e: 



MIDI NOTE ONS 



i urn in 



speed: 



depth: 



delay: 



By applying this LFO in this way to, say, FILTER 1, each note you play may 
have a different tonal colour and this can be made into quite a dramatic synth 
effect by setting quite high modulation amounts and high resonance. With 
percussive sounds, this can be a very interesting rhythmic backing for tightly 
sequenced arpeggios and riffs and the like. By applying this to panning, each 
note will be in a different position in the stereo image. On single note, you will 
get a dramatic panning effect as the sound bounces all over the stereo image 
and in chords, each note will position itself in different positions giving the 
impression of great depth and spread to the sound. 

However, this facility can be also used more subtly! By applying a tiny amount 
of the RANDOM waveform to pitch (try a depth setting of 01), each note may 
have a very tiny pitch discrepancy. In a layered string or vocal ensemble, by 
applying this to just one of the layers, you can create interesting chorus 
effects as each note has a slightly different detune amount. 

Similarly, when applied in small amounts, this can also be used effectively on 
'ethnic' sounds such as pan pipes as the 'real thing' is rarely perfectly in tune 
from one note to the next. On a rich analogue synth sound, you can also 
emulate the fact that these old synths' tuning left a lot to be desired! 

There are many possibilities which you will no doubt find for yourself. 

This sets the rate of LF01 . This is variable between very slow for such effects 
as auto panning and filter sweeps and fast for vibrato and other effects. The 
default here is slow as it is assumed you will want to use this LFO for such 
things as filter sweeps and slow panning effects, etc.. 

This sets the master output level for LF02. Unlike LF01, its default is 99 so 
you will instantly hear the effect of LF02's modulation as soon as you apply it 
at any destination. 

This sets the delay between a note-on occurring and the effect being 
introduced. At 00 the effect will be instantaneous and at 99 the effect will take 
some 5 or 6 seconds to be introduced. I.e. 



NOTE ON 




S3200XL Operator's Manual - Version 1.00 



Page 81 



EDIT PROGRAM - SINGLE 



ret rig: Here, you can set whether or not LF02 will re-trigger with every new note-on 

or not. With ret rig: se t to ON, each note you play will reset the cycle of the 
selected waveform to its leading edge. For example, with the triangle wave 
selected, you would get this result: 



MIDI NOTE ON 

a i 

This is useful for certain types of modulation effects where you want the effect 
to start at the same point in the modulation waveform for every note you play. 
For example, if you are using the square wave, you may want it to always start 
on the rising edge with each note you play. The same may apply for the 
sawtooth and random waveforms. 

However, there are occasions when you want the LFO to be free running in 
the background. For example, on filter or panning sweeps where you want the 
effect to be gradual as you play, you will want to switch ret rig: to OFF to get 
this result: 

MIDI NOTE ON 

a i 

Here, the modulation waveform will ignore incoming note-on messages and 
will be rising and falling giving you a gradual sweep through whatever it is 
applied to. This is particularly useful when triangle is selected and applied to 
the filter(s) as you can re-create the old filter sweep effects of analogue 
synths. 

There are no modulation inputs to LF02. 

You may use LF02 for a number of things. As mentioned above, when LF01 is tied up doing 
vibrato via the modwheel, LF02 may be used to affect things such as panning, filter sweep and 
amplitude modulation. Of course, there is no reason why you shouldn't use LF02 for vibrato 
either and mixing it with LF01 as a source of vibrato can create some rich ensemble textures. 
Many interesting things are possible when modulating LF01 with this LFO - at extreme 
settings you can make LFOI's modulation speed up and slow down for special sound effects 
or synth sounds but, if you're trying to breathe some life into some dead string samples, for 
example, you may like to use LF02 to slightly modulate LF01 thereby affecting the vibrato 
very subtly so as to eliminate the inherent 'cyclicness' of LFO modulation. No doubt you will 
find variations of your own. 



Page 82 S3200XL Operator's Manual - Version 1 .00 



EDIT PROGRAM - SINGLE 



SETTING U P TH E SOFT PEDAL 

Pressing HUM will display this screen: 



BiHMaggBM (PROGRAM) DMmaanga-ia o* 

loudness reduction: 10 

attack stretch: 10 

filter close: 10 

iBisira igaaia warn wasa soft laugn 



This final page in the modulation section allows you to set the response of the S3200XL to the 
soft pedal (The FOOTSWITCH input and MIDI controller 67). This can be very useful in 
obtaining better expression for piano sounds. The parameters are very simple and are as 
follows. 

The loudness reduction: parameter determines how the volume of the sound will be 
affected when the pedal is pressed. The higher the number, the greater the amount of volume 
reduction. 

The attack stretch: parameter allows you to soften the attack of the sound and affects the 
attack times of the envelope generators. Again, the higher the value, the greater the effect. 
For many acoustic instruments, especially string and woodwind sounds, when played quietly, 
their attack times also change slightly so this parameter can be put to good use. 

The final parameter, f i Iter close:, determines by how much the filter cutoff frequency will 
be reduced when the pedal is pressed thereby simulating the effect that acoustic instruments 
generally lose some upper harmonics when played quietly. 



S3200XL Operator's Manual - Version 1.00 



Page 83 



EDIT PROGRAM - SINGLE 



PORTAMENTO 

Portamento is a function that allows you to 'glide' from one note to another instead of moving in 
steps as is normally the case. 



P 

I 

T 

C - 

H 

TIME 

NORMAL PLAYBACK (NO PORTAMENTO) 




TIME 
WITH PORTAMENTO SWITCHED ON 

As you can see, when portamento is on, each note 'slides' to the next and the speed with 
which it slides is set by the portamento's RATE parameter. 

The portamento effect is useful when playing acoustic sounds such as stringed instruments 
that have no frets (violins, violas, etc., fretless bass) and instruments such as trombone, penny 
whistle, etc.. It is also effective on vocal sounds as few, if any, singers hit the note dead on - 
most slide into it. Of course, portamento was also a standard feature on older analogue synths, 
particularly monophonic ones (where it was often called GLIDE) and was responsible for the 
creation of some highly distinctive (although often over-used!) synth effects. 

Pressing F6 - 131131 - in any of the MOD pages will display this screen: 



BJHEBBnia < PROGRAM > 



HSM33BB33a 0* 



portamento: 
rate: 
type: 



OFF 

00 

TIME 



BEDS laaaia IM3iD H3iB BiBi fort 



The parameters are: 

portamento: This can be switched ON or OFF. When it is switched ON you will hear the 
portamento effect as you play. 

You will note that this parameter responds to the MIDI PORTAMENTO pedal 
(controller #65). This pedal is like the sustain pedal - when depressed, 
portamento will be switched on; when released, the effect will be switched off. 
When the portamento: parameter is ON, pressing the portamento pedal will 
have no effect - portamento will be on permanently. When this parameter is set 
to OFF, the portamento pedal will allow you to switch it on or off as you please. 
This may be useful when you wish to play a sound normally but only apply 
portamento to a few notes. For example, when playing a trombone sample, 
you may play normally and then switch portamento on to create the slide 



Page 84 



S3200XL Operator's Manual - Version 1.00 



EDIT PROGRAM - SINGLE 



effect. Similarly, with fretless bass, the portamento pedal may be used to slide 
notes whenever you please. 



TIP: This may also be used to good effect to simulate the TB303 bassline synth so loved in 
dance music. One of this bass synth' s most distinctive features was (is) the programmable glide 
effect To create this sound, take a simple, single sawtooth or square wave sample (no detune 
- the TB303 has only one oscillator), add simple filtering (preferably highly resonant) and a 
simple envelope and use the footswitch control of portamento to switch glide on and off at 
suitable moments. 



rate: 



type: 



This sets the speed of the portamento. It is difficult to specify its range as this 
depends on the setting of the type: parameter described below but the 
longest portamento effect you can have is over 30 seconds. You will note that 
if this parameter is set high but you play notes quickly, the portamento effect 
may be so slow that your notes never hit the right pitches! If you anticipate 
playing a particular sound quickly, set lower portamento rates. 

Here you may select two different portamento types, TIME and RATE. 

TIME sets the portamento effect so that the speed of the effect is constant 
regardless of the interval played. For example, if the rate is set to give a glide of 
1 second, it will take one second to glide up a semi-tone or seven octaves. 
For example: 





1 sec 


1 sec 


1 sec 


1 sec 


1 sec 



When TIME is selected 

When set to RATE, the speed the effect takes depends on the interval. For 
example, if it takes one second to cover an octave, it will take two seconds to 
cover two octaves, four seconds to cover three octaves, eight seconds to 
cover four octaves, etc.. For example: 





1 sec 


2 sees 


4 sees 


8 sees 


16 sees 



When RATE is selected 

You may use these two portamento modes to create a range of different 
musical effects. 



S3200XL Operator's Manual - Version 1.00 



Page 85 



EDIT PROGRAM - SINGLE 



NOTES ON USING PORTAMENTO 

The portamento effect can be used when playing polyphonically or monophonically. 

When playing polyphonically, notes in a chord will slide up or down to the next chord 
accordingly at a speed set by the rate: and type: parameter. If one note in a chord is held 
when a new chord is played, it will not be affected. 

When playing monophonically (i.e. with MONO LEGATO switched ON), the effect is just like 
that found on an old analogue monosynth and many exciting synth sounds can be created 
using the portamento function that fit in perfectly with the current fashion for using analogue 
synths. 

Of course, when playing monophonically, the effect can be applied equally as effectively to 
samples of acoustic instruments and the effect can be switched in and out using the MIDI 
PORTAMENTO pedal for expressive phrasing. 

The portamento effect is a PROGRAM parameter - that is, it will affect all keygroups equally. 
When layering sounds in a multi, to apply portamento to some sounds and not to others, 
create a program with portamento and another program without portamento and place the 
programs into separate parts, assigning the same MIDI channel to those parts. When you play, 
one program will hit new notes immediately whilst the other lags behind. Of course, you may 
stack more than two programs on top of each other in the multi. 

Alternatively, you may layer programs in this way and set different portamento rates for each 
one so that they all slide around at different speeds! 



Page 86 S3200XL Operator's Manual - Version 1 .00 



EDIT PROGRAM - SINGLE 



KEYGROUP PARAMETERS - CREATING KEYGROUPS 

All the previous parameter descriptions have so far been concerned with global or master 
changes to the program - i.e. not keygroup specific. This next section delves deeper into 
PROGRAM EDIT and examines the individual keygroup parameters. These include keyboard 
mapping, sample assignment and, of course, the filters and envelope generators. 



In the main PROGRAM EDIT screen, pressing 



will display this screen: 



l»4VElrIill]dd 


in 


Program 


i <+/-:> 


Keygroups 


active keygroup 


nunber: 


1 


Edit: ONE 






Span: 


c_o 


- G_S 




Mut 


? Group: 


OFF 




Override 


prog 


FX bus: 


PRG 


send: 25 


BEHa kgrf Baaa am naa eehi heu 



This gives you access to the keygroup pages. 

The primary function of this page is to create and copy keygroups although it is also possible to 
set key ranges (although this is possibly best done in the SPAN page - see later). 

The parameter, Keygroups in Program, shows you how many keygroups currently exist in 
the selected program. To copy keygroups, simply move the cursor to this field and press the 
+/< key on the numeric keypad as many times as you need keygroups. The amount you have 
copied will be shown in this field. To delete keygroups, simply press the -/> key on the numeric 
keypad. If you already have some keygroups in the program and you specifically want to copy, 
say, keygroup 5, move the cursor to the act i ye keygroup number: field and select 5. You 
may also set the keygroups note range in the Span: fj e ld but you may prefer to use the 
graphically assisted SPAN page for that. 

The Override prog FX bus: and send: parameters allow you to send individual keygroups 
to the effects by overriding the main program's effects routing. The default will be PRG (i.e. the 
routing is using the program's effects buss selection) but you may also select OFF (i.e. the 
selected keygroup is not routed to the effects), FX1, FX2, RV3 or RV4. The send: parameter 
allows you to set the amount of effect for each keygroup. In this way, you can, for example, 
send individual drums in different amounts to the effects. Furthermore, each drum could be 
routed to a different effect (i.e. bass drum to a tight gated reverb, snare to a large hall, toms to a 
medium hall, etc.). 

To set this, select the keygroup in the active keygroup number: field (or press and hold 
the EDIT key and play the appropriate note) and route that keygroup as appropriate and set a 
suitable send: level. 

The Mute Group: function allows you to group several keygroups together so that they are 
essentially monophonic. The main reason for this is for drums where sometimes you want a 
sample to stop playing when another is played. 

For example, you would want a closed hi-hat to stop an open hi-hat. Similarly, you may want an 
open triangle to be cut off by a closed triangle. To do this, simply assign all the relevant 
keygroups to the same Mute Group. For example, if all your hi-hats are in keygroups 3-6, 
assign those keygroups to, say, Mute Group 1. All other keygroups will be unaffected but all 
those in mute group 1 will be mutually exclusive - that is, if one is sounding when another is 
played, it will be cut. 



S3200XL Operator's Manual - Version 1.00 



Page 87 



EDIT PROGRAM - SINGLE 



For example: 



OPEN HI-HAT 
(or triangle, etc) 



CLOSED HI-HAT 
(or triangle, etc) 




OPEN AND CLOSED HI-HAT WITH MUTE GROUP OFF 

Here, you can see that the open hi-hat continues to play even though the closed hi-hat is 
triggered. 

OPEN HI-HAT CLOSED HI-HAT 

(or triangle, etc) (or triangle, etc) 




OPEN AND CLOSED HI-HAT WITH MUTE GROUP ON 

In this example, however, the open hi-hat is shut off by the closed hi-hat thereby creating a 
more natural effect. 

This function may also be used to emulate the characteristics of older drum machines. On 
these early drum machines, whilst they offered maybe 8 voice polyphony, each individual drum 
sound was sometimes monophonic. This only became apparent when you tried to perform a 
snare roll or something similar. Instead of the snare's natural decay being allowed to sound, the 
next hit would cut the previous one dead resulting in a rather unnatural staccato effect. Of 
course, at the time, this was undesirable but the dictates of musical fashion now say that this 
effect is quite popular in some music styles!! By assigning your snare drum into a mute group, 
you may re-create this effect. For example: 




SNARE DRUM ROLL WITH MUTE GROUP OFF 



In this example, each snare hit is allowed to decay naturally. 




SNARE DRUM ROLL WITH MUTE GROUP ON 



In this example, each hit is cut short by the next one. 



Page 88 



S3200XL Operator's Manual - Version 1.00 



EDIT PROGRAM - SINGLE 



On the S1000 and S1000 and in early versions of S2800, S3000 and S3200 software, you 
needed to create a separate program, make it 1 voice polyphonic and assign it the same 
program number as the rest of your drums. Now, you may do all this within one program which 
you may find more convenient. 

Another application for this function is when using the MONO LEGATO mode. When the 
MONO LEGATO mode is switched ON, the program becomes monophonic. The limitation of 
this, however, is when you play a mono legato run across a program that has several multi- 
samples in different keygroups. For example, in a multi-sampled flute program, as you play 
across the keygroups, those keygroup's samples will not play and you may end up with a 
situation where, in an extensive run downwards, you are playing a C5 flute sample on C2. This 
would probably result in an unnatural timbre due to extreme transposition of the sample. 

To overcome this, by assigning all the keygroups to the same mute group, although the 
program is monophonic, as you play across each keygroup, so those keygroup's samples will 
play in turn and, in the above example, you would be correctly playing the C2 sample on C2. 
The downside to this, however, is that as you cross into each keygroup, so the samples' attack 
will be re-triggered. If the attack of the samples is fairly pronounced, you may hear this but, 
depending on the setting of the envelope generators, this may not be too noticeable. If, 
however, the samples have no pronounced attack (i.e. in the case of raw, sampled synth 
waveforms), then the transition across the keygroups will be smooth. 

It is up to you to decide which is best. If accurate transposition is more important than the 
samples re-triggering, then you should use the mute group function in conjunction with the 
MONO LEGATO mode. If, however, the samples re-triggering every time you cross into a new 
keygroup not acceptable, then maybe you should use the mono legato mode without the 
mute group function although you may run into problems associated with extreme 
transposition of samples. If, as mentioned, the samples do not have a pronounced attack, then 
a combination of mono legato and the mute group function will give you a smooth transition 
across the keygroups. 

The final field on this page is Edit:. This may be switched between ONE and ALL and allows 
you to edit only the keygroup selected in the active keygroup number: field (ONE) or all 
keygroups (ALL). 

You may select the keygroup you want to edit in the act i ye keygroup number: if you wish 
but you may also select the keygroup in any of the keygroup pages. 



TIP: A very quick way of selecting keygroups on the S3200XL is to press and hold the EDIT 
key and play a note on the keygroup. This will select that note's keygroup. For example, in a 
program with five keygroups spanning C0-B1, C2-B2, C3-B3, C4-B4, C5-G8, playing G3 will 
select keygroup 3 - i.e. the one spanning C3-B3. In the case where keygroups are layered or 
overlap, pressing and holding EDIT and repeatedly playing the note will select each keygroup 
in turn. This is a very fast way of selecting keygroups. 



Pressing the GSOB key will take you back to the main PROGRAM EDIT screen and give you 
access to the other global pages. 



S3200XL Operator's Manual - Version 1.00 Page 89 



EDIT PROGRAM - SINGLE 



MAPPING OUT Y OUR KEYGROUPS 

Pressing §339 will display this screen: 



SETTING KEYSPAN 



araaaaai edition 



■■ ■■■ ■■ ■■■ ■■ ■■■ ■■ ■■■ ■■ ■■■ ■■ ■■■ ■■ ■■■ ■■ ■■■ ■■ ■ 



BEHa E@3a span 



KG LOU HIGH TUHE BEAT 
C_0 G_S +00.00 +00 



nidi->span: I off I 



This is where you can set up the note ranges for the keygroup. You can see a graphic 
representation of the keyboard to the left of the screen. As you adjust the LOW and HIGH 
parameters for a keygroup, you will see its range depicted in the graphic representation of the 
keyboard to the screen's left. The notes may be represented by name or as note number 
simply by pressing the SPAN soft key again. 

The above screen display shows a simple program with one keygroup in it. This next screen 
shows a typical program with several keygroups side by side. 



SraHiTSI edit ZONE 


KG LOU HIGH TUHE BERT 
■B C_0 B_l +00.00 +00 

2 C_2 B_2 +00.00 +00 

3 C_3 G«3 +00.00 +00 

4 fi_3 DS4 +00.00 +00 

5 E_4 fl_4 +00.00 +00 


^^ ■■ ■■■ ■■ ■■■ ■■ ■■■ ■■ ■■■ ■■ ■■■ ■■ ■■■ ■■ ■ 


..........juu,. ............... ........... 


iUJ 


'Ui 


ur 


iBisiKi raaaa sprh 


nidi->span: 1 off 1 



The parameters are as follows: 

edit: This toggles between ONE and ALL and allows you to choose between 

editing either one single keygroup or all keygroups simultaneously. You will 
find this function of every keygroup page and it can be invaluable in making up 
and editing programs quickly. In a complex program, you may select ALL to do 
all the basic work and then switch to ONE to individually fine tune the 
keygroups. 

KG Below this field are the keygroups and their note ranges can be seen 

alongside them. You may move the cursor directly down this line using the 
cursor keys for quick access to a particular keygroup. 

LOU HIGH Below these two fields are shown the lowest and highest notes for the 

keygroups. These may be set by moving the cursor to them and using the 
DATA control to input notes or, when displaying the notes numerically, you 
may type in a number from the numeric keypad. Another way to input notes is 
directly from the keyboard. 

By setting the nudi->span: soft key to ON and placing the cursor on the low 
note of keygroup 1, as you play the keyboard, so the notes will be entered. 
The cursor will jump to each low and high note in the list eventually 'wrapping 
round' to rest on KG1 . This is a very fast way to set up keygroup note spans 
and a whole program can be set up in seconds! 

NOTE: If ALL is selected in the edit : field, changing a value in the low or high fields will 
affect ALL notes equally. Pay attention because you could seriously affect your program's 
keyspan with one slip. You will note that this does not apply when inputting notes from the 
keyboard and m i d i ->span= is on. 



Page 90 



S3200XL Operator's Manual - Version 1.00 



EDIT PROGRAM - SINGLE 



TUNE 



BEAT 



Fiidi->span: 



This allows you to tune the keygroup up or down in semitones and cents. The 
range is ±50.00. 

This introduces a fixed tuning offset and can be used when layering samples 
to provide a chorus effect. Unlike the TUNE parameter, this offset is constant 
no matter what the played pitch of the sample is. The range is ±50. 

This soft key switches on or off the facility to input notes from the keyboard. At 
first, with the function being so fast and convenient, it may seem a bit strange 
to want to disable it but there may be times when you need to be able to 
change note ranges whilst receiving data from a sequencer that is playing. If 
nudi->span: was on permanently, in the situation, the sequencer would 
completely re-program the key ranges! This on/off function should guard 
against that. 



To exit this page and to acc ess oth er pages, press 13933 - this will give you access to other 
keygroup functions - or press GEEEI to return you to the main PROGRAM EDIT page and the 
master program functions. 



S3200XL Operator's Manual - Version 1.00 



Page 91 



EDIT PROGRAM - SINGLE 



ASSIGNING SAMPLES TO KEYGROUPS AND ZONES - SMP1 

Samples are assigned to keygroups in the SMPL page. Pressing 



gives this display: 



c. 


.0- 


-6_ 


.8 


KG: 


zn 


sample 


1 


SIHE 






2 










3 










4 











ED: ONE i^JJrJiId^TCl 0": 



U-lo U-hi pitch 

127 TRACK Xfd 

? TRACK OH 

? TRACK 

? TRACK 



1234 



Enacnagaa smpi ehsehs 



This is SMP1 (the first page to do with assigning samples - there are three in total). Here, for the 
first time, we catch a glimpse of the zones mentioned at the start of this section. In this 
example, the test program has one sample in it in zone 1. This has a velocity range of 1-127 
and so will play across the entire keyboard. Compare that with this screen which shows a typical 
three way velocity switch for a bass program: 



C_0 - 6_S KG: 
zn sample 

1 SOFT BASS 

2 HARD BASS 

3 PULL BASS 
4 



ED:0HE 

U-lo U-hi pitch 

65 TRACK Xf d 

66 95 TRACK OH 

96 127 TRACK 

? TRACK 



1234 



Egiiaci@3a smpi gnsgns 



Here you should be able to get a feel for the concept of 'zones'. We have three separate 
samples SOFT BASS, HARD BASS and PULL BASS and their velocity ranges are split 0-65, 
66-95 and 96-127. You will also note the nice graphic depiction alongside it for each of the 
three zones! Playing within those velocity ranges will play each sample accordingly allowing 
you to emulate the many tones available from just one note of a real bass guitar. 

If the velocity ranges overlapped (i.e. 0-70, 63-100 and 93-127) and Xfd (seen to the left of 
the graphic display) is switched to ON, then the velocity zones will crossfade giving a smoother 
response in some cases. 



NOTE: If you play between two overlapping ranges (i.e. in the above example, if you play at a 
velocity of 96), you will actually be playing two voices out of the possible 32. With such 
generous polyphony, this shouldn't be a problem unless you are driving the S3200XL 
particularly hard. 



Another way to use the zones is for stereo samples and for layering sounds. For example: 



r. rt-R 1 KR:BiFD:nNF IdttiH^^^H C>V. 


zn sanple U-lo U-hi pitch 

1 PIANO CI -L 127 TRACK Xfd 

2 PIANO CI -R 127 TRACK ON 

3 ? TRACK 


II 


4 ? TRACK 

iBiaiaiigaaa smpi HBiaaHsra 


1234 



This shows the assignment for a stereo piano sample. The left and right samples are assigned 
to zones 1 and 2 respectively and both given a range of 0-127. These two zones would be 
panned hard left and hard right in SMP2 (see below) to give stereo reproduction through the 
L/R outputs. 



NOTE: For stereo samples to play in stereo, they must be in the same key group and set up as 
shown above. 



Page 92 



S3200XL Operator's Manual - Version 1.00 



EDIT PROGRAM - SINGLE 



For layering sounds, you might like to set something like the following: 



C.O-G.l KG:HED:OHE H3BiaEIEM 0* 

zn sample U-lo U-hi pitch 

1 MOOG STR CI 127 TRACK Xfd 

2 MOOG STR CI 127 TRACK OH 

3 ? TRACK 



4 ? TRACK 1234 

Enacnagaa smpi 



Here we have assigned two identical synth samples to zones 1 and 2 and, as in the stereo 
program above, both have a velocity range of 0-127. In the SMP2 page, these can be detuned 
against each other and panned hard left and right to create a fat, warm, pseudo-stereo synth 
sound. This is a quick way of achieving this kind of sound. Of course, they don't have to be 
identical samples - anything will do. The trick with this method is that both samples share the 
same processing with the filters and envelope generators making adjustment and editing very 
simple. 

If you want to be more adventurous, you could use totally separate keygroups for layering 
synth sound (or acoustic sounds, for that matter) and each could have different envelope and 
filter characteristics. 

The parameters in this page are: 

C_0 - G_l This shows the current keygroup's key range as set in the SPAN page. It can 

be altered here if you wish. 

KG: This shows the currently selected keygroup and allows you to select others 

using the DATA control. As always in PROGRAM EDIT, you may quickly select 
a keygroup by holding the EDIT select key and playing an appropriate note on 
the keyboard. 

ED: Here you can select to edit ONE or ALL keygroups. 



NOTE: Selecting ALL doesn't apply to assigning samples when using the DATA control. 
Only one sample is assigned and the other keygroups remain unchanged even if ALL is 
selected. 



Of course, as usual, the name of the current program is shown at the top right hand of the 
screen. 

zn This shows the four zones in the column below. You will notice that in all SMP 

pages, as you play, a small dot appears alongside the zn field to signify which 
zone is playing - this is useful in identifying which sample is playing in a 
complex velocity switched program. 

sample This shows the sample(s) currently assigned to the zone(s). If a sample name 

is assigned but it does not exist in the S3200XL's memory, a "?" will appear 
alongside it to indicate that it is missing. To assign a sample, simply move the 
cursor to this field and scroll through the available samples in memory with the 
DATA control. 

To delete a sample from a zone, simply move the cursor to it, press NAME and 
replace the name with blanks. To erase a group of samples in the same zone in 
different keygroups, do the same but with ALL selected. 



S3200XL Operator's Manual - Version 1.00 Page 93 



EDIT PROGRAM - SINGLE 



USEFUL HINT FOR ASSIGNING SAMPLES! Assuming you have a lot of samples to 
assign and you have made up a program with sufficient keygroups, go to keygroup 1 and press 
MARK/#. Now move the cursor to the sample assign field below and select the first sample. 
NOW PRESS JUMP/. - this will take you to the KG field again and select another keygroup. 
Now press JUMP again to toggle you back to the sample assign field and select your next 
sample, press jump, new keygroup, jump, new sample, etc.. Once you get some practice, you 
can assign the samples to quite a complex program in no time at all. 

Another quick method for selecting keygroups method is to press and hold the EDIT key and 
play a note on the keyboard. This will select the keygroup for that note. 

Please note, that for either method, if you record (or load) your samples in the order they are to 
be assigned, then the process is even quicker. 



U-lo This sets the low velocity range for the zones. 

U-hi This sets the high velocity range for the zones. 

Pitch This allows you to select between TRACK and CONST. When TRACK is 

selected, then the sample can be played across the keyboard range as 
normal. When CONST is selected, then the sample(s) will play at a constant 
pitch of C3. 



USEFUL TIP TO DRUM SAMPLISTS! Sample all your drums on C3 in EDIT SAMPLE, 
assign them to any key you like in the program and simply switch on CONST for all keygroups. 
They will now play back at exactly the pitch they were sampled at. In this way, you don't have to 
worry about setting notes when sampling and then trying to match them up in EDIT 
PROGRAM. Other non-pitched samples such as sound effects, breakbeats, drum loops, etc., 
can be treated the same way. 



As mentioned before, there is a small box to the left of the screen that displays graphically the 
status of the four zones' velocity ranges 



Page 94 S3200XL Operator's Manual - Version 1.00 



EDIT PROGRAM - SINGLE 



SMP2 

Once you have assigned your samples, you may go to the next sample page by pressing 
1. Here you may tune and pan your samples. You will get this screen: 



C-O-G-3 KG: MED: ONE 


MdftfldEhM&lSI vs. 


zn sen.cnt loud filt 


pan 


out playback 


1 +00.00 +00 +00 


MID 


OFF OS SfiMPL 


2 +00.00 +00 +00 


MID 


OFF OS SfiMPL 


3 +00.00 +00 +00 


MID 


OFF OS SfiMPL 


4 +00.00 +00 +00 


MID 


OFF fiS SfiMPL 


lyr-iianaaaaiaaiai sriP2 hum 





The top line of the screen is exactly as in SMP1 and displays the currently selected keygroup's 
note range and keygroup, whether you are editing one individual keygroup or all of them as 
well as the program name. The other fields are: 

zn Again, this shows the zone number in the column below. 

sen.cnt This column allows you to tune each sample in each zone separately. You may 

tune the sample in semi tones and cents over a very wide range (±50.00). 

loud You can fine tune the loudness for each zone in each keygroup to balance 

them up against each other. You will note that if the master loudness 
parameter in the OUT page of the main PROGRAM EDIT screen is set to 99, 
this control will only have effect downwards (i.e. when setting a -value). The 
range is ±50. 

filt This parameter allows you to fine tune the filter cutoff slightly to maintain a 

consistent tone between keygroups. The range is ±50. 

pan This allows you to pan each zone in each keygroup between the main L/R 

outputs. The range is L50-MID-R50.. 

out This allows you to assign each zone in each keygroup to its own output 1 -8 for 

separate processing on an external mixing console if you wish. This has a 
relationship withindiu: field found in the OUTPUT LEVELS page. 

If the whole program is assigned to an individual output, that output will be 
shown here - i.e. if the program is set to appear at output 1, then 1 will be 
shown for every keygroup here. You may change this per keygroup so that 
some sounds come out of 1 and other keygroups appear at other outputs. 
This is particularly useful on drums where you often need to mix drums 
through an external mixer to add EQ, reverb, compression, etc.. 

Even if the main program indiu: field is set to OFF in the OUTPUT LEVELS 
page, you may still route individual keygroups to separate outputs. This may 
be useful in a drum program where things like toms, cymbals and some 
percussion appear at the S3200XL's stereo outputs whilst important drums 
like bass drum and snare are assigned to appear at individual outputs. 

You will note that whatever the output assignment is here, the level is taken 
from the master OUTPUT LEVELS page and is set at theindiu: field. 

playback This allows you to change the loop and playback characteristics of the sample. 

Normally, these are set in EDIT SAMPLE but they may be changed here if you 
wish. This will not affect the 'raw' samples' loop and playback characteristics but 
can be used within the context of particular programs. This eliminates the 



S3200XL Operator's Manual - Version 1.00 Page 95 



EDIT PROGRAM - SINGLE 



need for copying the same sample several times (and hence wasting memory) 
to achieve the same effect. The options available to you are: 

AS SAMPLE plays back the sample exactly as set up in the MORE page in 
SAMPLE EDIT. 

LP in R is the same as the LOOP IN RELEASE mode of the MORE page in 
SAMPLE EDIT. 

LP til R is the same as LOOP UNTIL RELEASE. 

NO LOOPS is self-explanatory! 

TO END is the same as the PLAY TO SAMPLE END selection in the MORE 
page in SAMPLE EDIT. 

The ability to reset the playback parameters of a sample allows you a lot of 
flexibility - the same sample can be used in different ways in different 
programs. 



Page 96 S3200XL Operator's Manual - Version 1.00 



EDIT PROGRAM - SINGLE 



SMP3 

Pressing 



takes you to the last of the three sample pages in PROGRAM EDIT. Here you 
may set the velocity start time for the sample(s) assigned to the currently selected keygroup. 
The screen display looks like this: 



C_0 - G_S KG:M ED: ONE HMJdfl 


^mm ■:>■•: 


zn uel>start 




1 +0000 




2 +0000 




3 +0000 




4 +0000 




EEHfl raaaa wa\ ji Hsiaa smp3 





This page allows you to determine the way in which velocity affects the playback starting point 
for each sample in a keygroup. This parameter is variable from +9999 to -9999. The higher the 
positive number, the earlier in the sample playback will start relative to the key velocity (i.e. a 
high key velocity will start playback earlier in the sample). A negative number has the opposite 
effect (a high key velocity will start playback later in the sample than a low key velocity). This 
effect is particularly useful for simulating percussion instruments (try it with a bass drum). It can 
also be very effective with such instruments as a heavily bowed cello - by setting a high positive 
value, hard keystrokes will play the aggressive bowing whilst soft keystrokes will not. The same 
could be done with overblown saxes or flutes. Something similar could be done with synth 
bass samples or other synth noises that have a pronounced filter sweep attack. 

No other functions are available in this page. 

In all of the sample pages, you may select between them via the three S MP sof t keys. To return 
to the keygroup screen to access the other keygroup functions, press USB3Si a nd to re turn to 
the main PROGRAM EDIT screen to access the 'global' program functions, press GH3C1 



S3200XL Operator's Manual - Version 1.00 



Page 97 



EDIT PROGRAM - SINGLE 



THE FILTE RS 

Pressing USSSM displays the main keygroup function select where you may access the filter 
and the envelope generators: 



Keygroups in Program: 1 £+^-> 
active keygroup number-: 1 

Span: C_0 - 6_S 
Mute Group: OFF 
Edit: OHE 

BEoa kgrp gaaa am mm emi \ssss 


OX 



From this page press the 13191 key to take you to the filter page: 



HUES KG: HI ED: OHE H=^J:J:J.Tcl:J- SI o- 

C_0 - G_S 

frequency: 99 velocity > freq: +00 

key follow: +12 Lfo2 > f req: +00 

resonance: Enu2 > freq: +00 

EEJEHBB53 FLU HMH EMI BIBB BSBB BHB1 



The S3200XL is equipped with 12dB/octave lowpass resonant filters as found on many 
analogue synthesisers. As well as using them for the tonal modification of acoustic samples, 
they also allow you to totally transform a sound. 

'Lowpass' means that the filter will allow low frequencies to pass through unaffected whilst high 
frequencies are removed. 



CUTOFF FREQUENCY 



HARMONICS 




FREQUENCY 
As the cutoff frequency is moved downwards, so high frequencies are gradually removed. 

CUTOFF FREQUENCY 
HARMONICS 




FREQUENCY 

This is very convenient when dealing with samples of acoustic instruments because as notes 
die away, they tend to lose their higher frequency content first. By applying an envelope 
generator to the filter's cutoff frequency, we can emulate that on the sampler. Another 
property of sound is that when it is played loud (ff) it is generally brighter than when it is played 
softly (pp). Using the filter and applying velocity (or controlling the output of the filter's 



Page 98 



S3200XL Operator's Manual - Version 1.00 



EDIT PROGRAM - SINGLE 



envelope generator using velocity) we can have a certain amount of control over tonal 
dynamics as well. 

The S3200XL's filters are equipped with resonance. This allows you to selectively boost the 
area around the cutoff frequency thereby boosting certain harmonics. 



n 



u 



CUTOFF 
FREQUENCY 
WITH RESONANT 
PEAK 



11 



FREQUENCY 



Although it has some uses when trying to accurately reproduce some acoustic samples, its use 
is more suited to synthesiser effects. You will note, however, that when resonance is used, 
because of the gain increase that takes place, it can be easy to overload the output stages of 
the S3200XL, especially with certain sounds. As a result, take care to watch levels. The 
distortion produced by digital circuitry is not as pleasant as that produced by the old synths 
(unfortunately!!) so we can't expect the pleasant overdriven sound from a sampler - if you are 
after that sound, then sample the distortion from the synth! 

Let's now have a look at the filter's parameters. 

The parameters across the top of the page follow the usual convention and allow you to select 
the keygroup for editing, select whether you wish to edit just one keygroup or all keygroups 
simultaneously and, of course, you can select another program for editing if you wish. The 
other fields on this page are: 

C_0 - G_S This shows the current keygroups key range. 

frequency: This allows you to set the filters cutoff frequency. As you decrease this from 
99, you will remove the upper harmonics resulting in a softer tone. This can be 
used to great effect on acoustic instruments (especially those that have been 
looped) with velocity and envelope shaping to restore the natural harmonic 
dynamics and movement to the sound. On synths, you may sweep this with all 
sorts of controllers for a wide range of synth sounds. 

key follow: Here you may set the keyboard to track the filter. This is so that you can 
achieve an even tone across the keyboard range. +12 is the default and this 
tracks the filter octave for octave - i.e. for every shift of pitch of one octave, 
there is an according shift in harmonics. 

resonance: This allows you to sharpen the point at the cutoff frequency thereby 
emphasising the harmonics at that point. The sound changes from a soft 
'waaa' effect to the characteristic 'weeow' effect with high resonance settings. 
The range is 0-15. High resonance settings can be used for classic synth bass 
sounds and, simply by sampling raw synth waveforms (i.e. without using the 
synths filter, etc.), these may be used as the basis for some powerful synth 
sounds through these filters. 



S3200XL Operator's Manual - Version 1.00 



Page 99 



EDIT PROGRAM - SINGLE 



NOTE: When increasing the resonance, depending on the sound, some very loud peaks may 
be created as certain strong harmonics get boosted. This can result in distortion. To reduce 
any distortion you may have, reduce the loudness control in the OUT pages. 



The next three parameters down the right hand side are the modulation inputs to the filter. The 
defaults for these are velocity > freq:, Lfo2 > freq: and Enu2 > freq: respectively. 
These may be mixed and the range for each modulation input is the usual +/-50. You will note 
that for there to be any effect, the frequency: parameter should be set to something lower 
than 99. 

With velocity > freq: se t to a high positive value, you may use velocity to control tone 
colour much like you would find on an acoustic instrument with louder notes yielding brighter 
sounds and, of course, vice versa. Lf o2 > freq: may be used for filter sweep effects such as 
flute tremolando or drastic resonant synth effects whilstEnu2 > freq: j s use d for shaping the 
tonal dynamics of the sound and restoring lost harmonic movement due to looping. The multi- 
stages of ENV2 allow some interesting possibilities as we shall see in a moment. The other 
options which you may select for modulating the filters are: 

Modwheel This works much like pressure and moving the modwheel will cause the filter 

cutoff to open and close. Use this for phrasing brass parts, perhaps, or for 
special synth filter effects in a bass line or lead line. 

Bend This works like pressure and modwheel and allows you to open and close the 

filter by moving the pitch bend wheel or lever. This can be effective when 
bending up into a note as the filter will open and sound brighter. 

Pressure This may be used for expressive swells, particularly on brass sounds. 

External This can select from one of the 128 MIDI controllers for control of the filter 

cutoff. 



Key 
Lfo1 



Env1 



Modwheel 



Although selectable as a mod source, it is not that worthwhile because this is 
hardwired via the k ey f o 1 1 ow: parameter. 

This allows you to emulate the natural tremolo of flutes, woodwind, brass and 
other such instruments when set to small modulation amounts. When set to 
large modulation amounts, classic synth filter sweeps can be achieved. That 
LFO 1 can also be modulated leads to some very interesting synth sounds 
and special effects. 

On occasions, it is good to be able to have the filter's tonal dynamics match 
those of the amplitudes. One easy way to achieve this is, instead of copying 
the amplitude envelope to the filters envelope, simply assign the amplitude 
envelope ENV1 to the filter. 

This and the other "!" controllers allow you to control the opening and closing 
of filter cutoff at the point of note on. They don't have any effect if these 
controllers change through the course of the note but only when the note is 
pressed. 



Page 100 



S3200XL Operator's Manual - Version 1.00 



EDIT PROGRAM - SINGLE 



ENV1 - SHAPI NG AM PLITUDE 

Pressing F5 - KBH - will give this screen display: 



BSBBJEH KG: H ED: ONE MJaadraMgRTBl 0". 

C_0 - G_S template: EHU 1 

Attack: 00 

Decay: 50 

Sustain: 99 

Release: 45 



isigimiBHaaiawiigwa ehui laana hbih sgun 



Here we have the normal parameters across the top of the page where you may select your 
keygroup, whether one or all keygroups are being edited and the program name. Also, 
beneath that you can see a graphic representation of the envelope. The keyspan is also 
shown and this may be changed here if you wish. The other parameters are: 

template: This calls up a series of preset envelope templates that have 

been set within the software of the S3200XL. You can use 
these to get close to the type of envelope you are after and 
then maybe fine tune them afterwards if needs be. ENV1 is 
the 'manual' envelope - i.e. the one you can program yourself. 
If you select a preset envelope and then edit it, you will note 
that it immediately become ENV1, the programmable 
envelope. 

You will notice that any envelope you create is not lost when 
you select a preset - ENV1 (your own envelope) is always 
retained as you scroll through the list of available envelopes 
although ENV1 will be lost if you edit a preset. 

NOTE: Should you select a preset and then leave this page, when you return, you will note 
that the template is renamed and becomes ENV1. 



Attack: 

Decay: 

Sustain: 

Release: 



This sets the time the envelope will take to reach full level. 

This sets the time it will take to reach the sustain level. 

This sets the level at which the note will sustain while a key is 
held. 

This sets the time it takes for the sound to fade away after the 
note has been released. 



This forms the basis of an ADSR envelope generator for shaping amplitude. This envelope 
generator is hardwired to amplitude control and so always sets the sound's overall envelope. 



Pressing 



calls up this screen: 



IdilMBlMH KG: HI ED: ONE M^fldsttHbMil 0* 


C_0 - G_S velocity > attack: 


+00 


velocity > release: 


+00 


off velocity > release: 


+00 


key > decay & release: 


+00 


attack hold: 


OFF 


beici tsM3 sm bib gma sms sma enui 



S3200XL Operator's Manual - Version 1.00 



Page 101 



EDIT PROGRAM - SINGLE 



Once the basic envelope has been set up, these other factors can be used to affect the speed 
of the envelope. 

velocity > attack: This is variable from +50 to -50, and determines the amount 

by which the attack speed will be changed depending on the 
Note On velocity. A positive value will increase the attack time 
if the key is pressed fast, while a negative value will slow down 
the attack rate if the key is pressed fast. Setting a positive 
value here is the most commonly used way of using this 
parameter and is useful for imitating the characteristics of 
some acoustic instruments (for instance, most wind 
instruments have a faster attack rate when played loudly). 

velocity > release: This is used to vary the release rate relative to the Note On 

velocity value (+50 to -50). Again, a positive value will increase 
the release rate relative to the Note On velocity, and a 
negative value will shorten the release time. 

off velocity > release: The MIDI specification allows for Note Off velocity as well as 

Note On velocity. Though some keyboards do not accept or 
transmit this, assuming a mean value of 64, all AKAI keyboards 
provide a full implementation of this function. The speed with 
which the key is released can be used here to affect the 
release rate (positive values mean that a fast release 
lengthens the release rate, and vice versa). 

key > decay £ release: This allows you to control the amount by which the key 

position affects the decay and release rates. Setting this to a 
negative value means that the higher the note played on the 
keyboard, the shorter the decay and release times (similar to 
most acoustic instruments). Setting this parameter to a 
positive value will reverse this effect. 

attack hold: This can be set to ON or OFF. When ON, the attack portion of 

the envelope will be held until looping begins, and when 
OFF, the envelope will continue along the set values, 
regardless of loop settings. I.e: 



Loop Loop 




Attack) 



Attack HOLD: ON \ Decay 

Sustain 



Page 102 S3200XL Operator's Manual - Version 1.00 



EDIT PROGRAM - SINGLE 



ENV2 - SHAPING THE FILTER 

Access to ENV2 is also via the KGRP or FILT page. However you arrive there, the screen looks 
like this: 



SSSE KG: m ED: ONE Q^M33SE3£H] o* 

C_0 - G_S template: EHU 2 

=— I Rl: 00 Li: 99 

\ R2: 50 L2: 99 

N R3: 50 L3: 99 

R4: 45 L4: 45 



QEiEiiaaaasiiiBiBgBiQ enu2 ehsejEH 



This is a 4-stage envelope generator with 4 rates going to 4 levels. Basically, Rate 1 goes to 
Level 1, Rate 2 to Level 2, Rate 3 to Level 3 (which is also the sustain) and Rate 4 goes to 
Level 4. Again you have a choice of templates from which to choose a variety of preset 
envelopes (probably a bit more necessary in light of the added complication of a multi-stage 
envelope) and this works on the same principle as ENV1 's templates except that there are 
more of them. 

Some of the possible envelope shapes you can create using envelope 2 are shown below: 

The second page of envelope parameters can be accessed by pressing ouaa You will 
receive this screen: 



mm 


KG: HI ED : ONE MdMd&H&lSI 

S_8 velocity >Rl: +00 


ov. 


C_0 - 




velocity>R4: 


+00 






off velocity >R4: 


+00 






key>R2 Si R4: 


+00 






ve 1 oc i t y > enve 1 ope: 


+00 




IBiaHllBEaataBilBBHIglilinigglligiaillH enu2 



Here we have similar parameters to ENV1 . 



uelocity>Rl: 
uelocity>R4: 
off velocity >R4: 
key>R2 £ R4: 
y e 1 oc i t y > amount : 



This sets how much velocity will determine the speed of rate 
1. 

This sets how much the note-on velocity will affect the speed 
of rate 4. 

This sets the amount by which MIDI note off velocity will affect 
the speed of rate 4. 

This will set how much key position will affect both rate 2 and 
rate 4. 

This sets how much velocity will control the modulation output 
of ENV2. This parameter can be used very effectively in 
regulating dynamics through key velocity. All parameters' 
ranges are +/-50. 



S3200XL Operator's Manual - Version 1.00 



Page 103 



EDIT PROGRAM - SINGLE 



USING THE FILTER AND ENVELOPE GENERATORS 

One of the inherent problems of sampling is that, because of memory limitations, it is usually 
necessary to loop a sample. This often has the effect of reducing (or even removing!) the 
sound's natural dynamics making the sample more like a snapshot than a movie. 

To overcome this, however, we can use the filters and the envelope generators to restore 
some of those attributes. 

By bringing the filter cutoff frequency down and using note-on velocity as a controller, you can 
emulate the characteristics of most, if not all acoustic sounds where loud notes are brighter in 
tone than quiet ones. Controlling the output of ENV2 using velocity and applying that to the 
filter is another way of doing this. Furthermore, another natural property of sound is that during 
a note, the tonal quality changes. We can use envelopes and low frequency oscillators to 
restore some of those qualities. Usually, the filter will use the multi-stage ENV2 as its controller 
because tonal changes are usually more complex than amplitude changes in acoustic sounds. 
This envelope can also be used to imitate such things as brass growls - to actually sample a 
brass growl would not only take up memory but would speed up and slow down as you play it 
across the keyboard. ENV2 could be applied to an ordinary brass sample and set so that Rate 3 
swells back up from a low Level 2 to not only recreate this effect but also to keep the swell at a 
constant rate across the keyboard. Pressure may also be used for the same effect although 
you would be controlling the growl - this may be preferable to the 'automated' quality a preset 
envelope rate would have. 

Of course, once you are in the realm of sampling synth waveforms and processing them 
through the filter, you are in different territory but anyone who has used an analogue synth will 
feel instantly at home with the S3200XL's filter and envelope section. The only difference 
here, however, is that instead of relying on a handful of waveforms, any sampled sound may be 
used as the source. It is here that the modulation possibilities can be used to good effect in the 
creation of new sounds (and the recreation of a few classic old synth sounds too!) 

Having the filters, envelope generators and comprehensive modulation facilities in the 
S3200XL means that instead of having to sample an entire synth sound, you can simply 
sample the 'raw' waveforms from the synth and apply all the other synth processing in the 
S3200XL. There are several ways this can be done - you could either sample multiple detuned 
oscillators or you could sample individual oscillators and then layer them in the S3200XL. This 
might be preferable in a way as single waveforms can easily be looped and take up virtually no 
memory space (*). With digital synths, you can take the basic waveform material and build up a 
huge array of waveforms to use as the basis of your synth sounds. 

* NOTE: Sampled waveforms do not detune in quite the same way as analogue synths. On 
analogue synths, there are all kinds of pleasant distortion artefacts that give the sound 
character - in some cases it is best to sample that distortion. Note also that sampled waveforms 
transposed up and down the whole range of the keyboard do not sound quite the same as 'the 
real thing' so it is probably best to multi -sample these for best results. 



Page 104 S3200XL Operator's Manual - Version 1.00 



EDIT PROGRAM - SINGLE 



THE SECOND FILTERS 

The second bank of filters is accessed by pressing 
screen: 



QMS. This will display the following 



aHH^KG:H ED: ONE 


hi^flJ:;.Td:;-u ox 


C_0 - G_S 


Filter2/Tone enable: 


OH 


frequency: 


99 ye 


locity > freq: 


+00 


key follow: 


+ 12 


Lf o2 > freq: 


+00 


resonance: 





Enu2 > freq: 


+00 


filter node: 


LP 


attenuator: 


+0dE 


BEHa issaa HMD FLT2 ESS! SSSS SUES BSSS 



Essentially, this looks very similar to the Filter 1 page except you will notice the extra 
filter node: parameter that selects these filters' different modes. The second filter offers 
four different types of filters: LOWPASS, BANDPASS and HIGH PASS plus a special EQ filter 
selection. The lowpass filter we have already seen and offers this type of response graph: 



ROLL-OFF SLOPE 



CUTOFF FREQUENCY 




FREQUENCY 

Here, high frequency components above the cutoff frequency are removed and only lower 
frequency components will pass through the filter. When the resonance control is increased, 
the area around the cutoff frequency is boosted to give synthesiser effects. 

The band pass selection offer this type of response slope: 



ROLL-OFF SLOPE CUTOFF FREQUENCY 




FREQUENCY 

Here, frequencies below the cutoff and above are removed. You may simultaneously remove 
depth and top end using this selection and the result is a buzzy, thinner type of sound. As the 
resonance amount is increased, so the width of the response slope gets narrower so that 
individual harmonics are emphasised. 



S3200XL Operator's Manual - Version 1.00 



Page 105 



EDIT PROGRAM - SINGLE 



The high pass filter offers this response slope: 



ROLL-OFF SLOPE CUTOFF FREQUENCY 



\l 



V 



s 



i 
i 




HARMONICS 



FREQUENCY 

In this example, you can see that low frequency components are removed whilst high 
frequencies pass through. This filter can be used to make sounds very thin and brittle. For 
example, this type of filter may be used effectively on an oboe sound or harpsichord sound. 
When the resonance is increased, the area around the cutoff frequency is boosted and so 
harmonics around that frequency will be emphasised. 

The final mode selection is quite unlike those shown above. Selecting EQ turns the second 
filter bank into a simple one band equaliser with variable frequency and resonant cut/boost that 
can be used for a variety of different effects. With the EQ selection, the 'straight' sound from 
Filter 1 is also passed through unaffected and you can use this EQ section to highlight specific 
frequencies in the sound. This filter is also able to be controlled by any of the modulation 
sources we have seen so far and using it with a high resonance setting in conjunction with any 
of these modulation sources, you may create interesting sounds not unlike phase shifting. 

The response slope for the EQ selection is shown below: 

a CUTOFF k 

" FREQUENCY v 




Resonance =31 
Resonance = 24 



Resonance = 12 
Resonance = 



FREQUENCY 

With resonance at 16, the frequency response is flat but as the resonance is increased, the 
gain of the filter is boosted around that frequency. If the resonance is decreased, the gain is 
cut as the resonance gets sharper. 

The fields on the FILTER 2 page are as follows: 

The parameters across the top of the page follow the usual convention and allow you to select 
the keygroup for editing, select whether you wish to edit just one keygroup or all keygroups 
simultaneously and, of course, you can select another program for editing if you wish. 



Page 106 



S3200XL Operator's Manual - Version 1.00 



EDIT PROGRAM - SINGLE 



The other fields on this page are: 



C_0 - G_S 
frequency: 

key follow: 



resonance: 



This shows the current keygroup's key range. 

When lowpass, band pass and highpass filters are selected, 
this allows you to set the filters cutoff frequency. When EQ is 
selected, this control sets the EQ band's centre frequency. 

Here you may set the keyboard to track the filter. This is so 
that you can achieve an even tone across the keyboard 
range. +12 is the default and this tracks the filter octave for 
octave - i.e. for every shift of pitch of one octave, there is an 
according shift in harmonics. 

This allows you to sharpen the point at the cutoff frequency 
thereby emphasising the harmonics at that point. The sound 
changes from a soft 'waaa' effect to the characteristic 'weeow' 
effect with high resonance settings. The range is 0-31. High 
resonance settings can be used for classic synth sounds and, 
simply by sampling raw synth waveforms (i.e. without using 
the synths filter, etc.), these may be used as the basis for 
some powerful synth sounds through these filters. 



\NOTE: The resonance control functions differently when EQ is selected. When EQ is\ 
I selected, a value of 16 is no cut or boost. Raising the resonance above 16 will boost the\ 
I selected cutoff frequency and lowering it below 16 will cut the selected cutoff frequency. You\ 
j will, therefore, experience a tonal change when you switch from LP, BP or HP to EQ. For\ 
| example, if a value of 16 is set for the resonance on the other three filters, this will be flat when\ 
I you select EQ. Similarly, if a value ofOis set on the other three filters, this will cause the cutoff] 
I frequency to be cut when you select EQ. j 



filter node: 



Filter2/Tone enable: 



This parameters allows you to select the filter mode of your 
choice and the selection possibilities are LP (lowpass), BP 
(bandpass), HP (highpass) and EQ. For details on these 
different filter types, please see the description given above. 

This parameter allows you to bypass the second filter and 
tone section if you wish. You may use this parameter to 
quickly bypass the settings of the second filter and tone 
control section to make A/B comparisons. 



| NOTE 1: With this parameter set to ON, the polyphony of the S3200XL is restricted to 30\ 
| voices. If OFF is selected, the second filter and tone section are bypassed, and the S3200XL\ 
I may operate with 32 voices. I 

I ! 

| NOTE 2: The setting of this parameter relates to both the second filter and tone section. \ 



attenuator: 



This allows you to switch in a -6dB pad. This is included to 
overcome the possibility of distortion should the resonance 
be set quite high, boosting the sound into overload. 



j NOTE: The attenuator should be enough to overcome distortion that may result from very] 
| high resonance settings. If, however, it is not, then you will have to turn the program level\ 
| down in the OUT page. j 



S3200XL Operator's Manual - Version 1.00 



Page 107 



EDIT PROGRAM - SINGLE 



The next three parameters down the right hand side are the modulation inputs to the filter. The 
defaults for these are velocity > freq:, Lfo2 > freq: and Enu3 > freq: respectively. 
These may be mixed and the range for each modulation input is the usual +/-50. You will note 
that for there to be any effect, the frequency: parameter should be set to something lower 
than 99. 

With velocity > freq: se t to a high positive value, you may use velocity to control tone 
colour much like you would find on an acoustic instrument with louder notes yielding brighter 
sounds and, of course, vice versa. Lfo2 > freq: ma y be used for filter sweep effects such as 
flute tremolando or drastic resonant synth effects whilstEnu3 > freq: j s use d for shaping the 
tonal dynamics of the sound and restoring lost harmonic movement due to looping. The multi- 
stages of Enu3 > freq: allow some interesting possibilities. 

The other options which you may select for modulating the filters are: 

Modwheel: This works much like pressure and moving the modwheel will cause the filter 
cutoff to open and close. Use this for phrasing brass parts, perhaps, or for 
special synth filter effects in a bass line or lead line. 

Bend: This works like pressure and modwheel and allows you to open and close the 

filter by moving the pitch bend wheel or lever. This can be effective when 
bending up into a note as the filter will open and sound brighter. 

Pressure: This may be used for expressive swells, particularly on brass sounds. 

External: This can select from one of the 128 MIDI controllers for control of the second 

filter's cutoff. 



Key: 
Lfo1: 



Env1: 

Env2: 

! Modwheel: 



Although selectable as a mod source, it is not that worthwhile because this is 
hardwired via the key follow: parameter. 

This allows you to emulate the natural tremolo of flutes, woodwind, brass and 
other such instruments when set to small modulation amounts. When set to 
large modulation amounts, classic synth filter sweeps can be achieved. That 
LF01 can also be modulated leads to some very interesting synth sounds and 
special effects. 

On occasions, it is good to be able to have the filters tonal dynamics match 
those of the amplitudes. One easy way to achieve this is, instead of copying 
the amplitude envelope to the filters envelope, simply assign the amplitude 
envelope to the filter. 

This may be used as an alternative to Env3 perhaps. 

This and the other "!" controllers allow you to control the opening and closing 
of filter cutoff at the point of note on. They don't have any effect if these 
controllers change through the course of the note but only when the note is 
pressed. 



Page 108 



S3200XL Operator's Manual - Version 1.00 



EDIT PROGRAM - SINGLE 



CREATING 24db/8ve 4-POLE LOWPASS FILTER 

There are two types of filters commonly used in analogue synthesisers. They are sometimes 
referred to as '2-pole' or '4-pole'. These offer two different filter response slopes: 



ROLL-OFF SLOPE 



CUTOFF FREQUENCY 



ROLL-OFF SLOPE CUTOFF FREQUENCY 




FREQUENCY 
12dB/Octave 2-pole lowpass filter 




FREQUENCY 
24db/Octave 4-pole lowpass filter 



A 2-pole filter offers 12dB/Octave cutoff slope and a 4-pole has a 24dB/Octave cutoff slope. 
Because the 12dB/Octave slope is slightly less severe, you can see that some upper 
harmonics are still in the signal. The 4-pole filter's 24dB/Octave slope, however, removes 
these. Some people claim that 24dB/Octave filters are 'punchier' than the 12dB/Octave variety 
which some people claim to be 'fizzy'. 

In the 'good old days' of analogue synths, some manufacturers used 2-pole filters, others used 
4-pole filters. Moog synthesisers had 4-pole filters and many people attribute the classic 
MiniMoog's punchy bass end to this (other factors are actually responsible as well, as it 
happens). Early ARP and Oberheim synths (the SEM Synth Expansion Module and the 
Oberheim 4-Voice) had 2-pole filters and yet no-one accuses them of lacking any 'punch'! 
Some synths offered a switch to choose the cutoff frequency's response slope. 

However, it must be said that for certain sounds, particularly bass synth sounds, a 
24dB/Octave, 4-pole filter is better. On the S3200XL, it is possible to create a 4-pole filter with 
a 24dB/Octave cutoff slope using the second bank of filters. To do this, select LP as the filter 
type in FILTER 2 and set FILTER 2's parameters identically to FILTER 1 . I.e.: 



amis KG 

C_0 - G_S 

frequency: 25 

key follow: +06 

resonance: 07 



ED: ONE M^aaddMHaSISl 0'-: 



velocity > freq: +10 
Lf o2 > freq: +00 
Enu2 > freq: +36 



Giaciiaaaa filt qiebibd bibs bibs emu 



ams kg: ■ 


J ED: ONE H^MddWMI 0* 

Filter2/Tone enable: OH 


C_0 - G_S 


frequency: 


25 ye 


Locity > freq: 


+ 10 


key follow: 


+06 


Lf o2 > freq: 


+00 


resonance: 


07 


Enu2 > freq: 


+36 


filter node: 


LP 


attenuator: 


+0dE 


ifl[»iiailBHaaia«i FLT2 BUM BIBB BIBB ilBiia 



Because the two 2-pole filters are in series, this creates a 4-pole filter with a 24dB/Octave 
cutoff slope. You can make 'A/B' comparisons between 2-pole and 4-pole using the 
Fi lter2/Tone enable: switch to hear the difference between the two filter types. 
Whilst you can hear a difference between 2-pole and 4-pole filters, going to 6-pole or higher 
does not yield any significant differences which is why such filters are rarely, if ever found on 
analogue synths. 



S3200XL Operator's Manual - Version 1.00 



Page 109 



EDIT PROGRAM - SINGLE 



\NOTE: Because the resonance control in FILTER 2 has twice the range of FILTER 1's, 
| theoretically, you should set FILTER 2's resonance to twice that of FILTER 1 's but in practice, 
| you will find that this is not strictly necessary. However, by setting both filter's resonance to 
j maximum (15 and 30 respectively), you can create very resonant and 'squelchy' synth sounds, 
I especially synth basses. 

I 

I Watch out for distortion, however, with such high resonance settings. When using high 
I resonance settings, you may find it necessary to switch in the -6dB pad in the attenuator: 
| field - you may even need to back the programs output level off as well. 



Page 110 S3200XL Operator's Manual - Version 1.00 



EDIT PROGRAM - SINGLE 



THE TONE PAGE 

The S3200XL also features a simple tone control which is accessed via F8 - UHS13. Pressing 
this will display this screen: 



flSH@ KG: MED: ONE DMMSS§H3Sil 0* 

C_0 - G_S Filter2/Tone enable: OH 

centre frequency: 50 
slope: +00 
attenuator: +0db 

GEiEiiaaaasiiiBiaiissaiisiisiiiiia tone 



The TONE section can best be described as 'spectral tilt'. If you imagine a see-saw, the bench 
is the slope: parameter and the fulcrum over which it rocks is the centre frequency: 
parameter. For example, when the controls are set as shown in the above screen diagram, the 
response would be flat but with a setting of 50 for the centre frequency parameter and +50 for 
the slope parameter, you would have a response graph something like this: 





+ 


CENTRE FREQUENCY ^^ 


L 

E 
\/ 




\ 




E 








L 







FREQUENCY 
CENTRE FREQUENCY=50 SLOPE=+50 



Here, bass frequencies are attenuated whilst high frequencies are boosted. Setting the 
slope: parameter to -50 would reverse the angle, cutting high frequencies and boosting LF. 

By setting the slope: lower, you may create a tone response something like this: 



+ 



CENTRE FREQUENCY 
\ 




FREQUENCY 
CENTRE FREQUENCY=25 SLOPE=+50 

Here, some bass frequencies are cut but some mid and a lot of high frequencies are boosted. 



S3200XL Operator's Manual - Version 1.00 



Page 111 



EDIT PROGRAM - SINGLE 



Setting a higher centre frequency: value with a negative slope value may produce 
something like this: 




CENTRE FREQUENCY 



FREQUENCY 
CENTRE FREQUENCY=75 SLOPE=-50 



Here, bass frequencies and some mid range components are boosted whilst high frequencies 
are cut. 

The main purpose of this section is to be able to gently remove unwanted noise from a sound. 
For example, you could use it to remove some mains hum from a sound or some hiss or other 
high frequency noise. Used together, the second filter and the tone section can be used very 
effectively to 'clean up' samples. 

You may also use the TONE section to balance the tone of an instrument across the keyboard 
range - for example, you may give a set of string samples more bottom end to emphasise the 
bass instruments. 

Of course, the TONE section can also be used as a simple EQ and, because it is available for 
each keygroup, you could use it to add depth to a kick drum or snare drum or to add some top 
end to cymbals, hi-hats and snares. Other sounds may benefit from some simple tonal 
modification in this section too. Experiment!! 

The attenuator: parameter allows you to switch in a -6dB pad. This is included to overcome 
the possibility of distortion should the resonance of the second filters or the slope of the 
TONE section be set quite high, boosting the sound into overload. 

The Fi lter2/Tone enable: parameter allows you to bypass the tone control section. 

j NOTE: The attenuator: and Fi lter2/Tone enable: fields are a duplication of the ones\ 
I found in the FILTER 2 page. If you switch them on or off in this page, you will notice that they\ 
I will be set the same in the FILTER 2 page. The converse is also true - switching them on or off\ 
I in the FILTER 2 page will have the same effect in the TONE page. j 



Page 112 



S3200XL Operator's Manual - Version 1.00 



EDIT PROGRAM - SINGLE 



ENV3 

A third multi-stage envelope generator is provided which is exactly the same as ENV2. This 
has no defined function (although its default assignment is to control the cutoff frequency of 
FILTER 2) but may be freely assigned to anything you wish. Typically it may be used to control 
FILTER 2 separately but may also be used t o contro l pitch, panning, LF01 rate, etc., especially 
if ENV2 is busy doing other things. Pressing I3S1SH will display this screen: 



urns 



KG: 



C_0 - G_S 



ED: ONE H^JdrT.WrMSI 

template: ENU 2 



Rl: 
R2: 
R3: 
R4: 



00 Ll: 
50 L2: 
50 L3: 
45 L4: 



0* 

99 
99 
99 
45 



KEHfl iswdj HBi iawa laann laama enus Bang 



Because its parameters are identical to those in ENV2, please refer to the explanati on EN V2. A 
second page of envelope parameters is also available and is accessed by pressing euisb. This 
will display this screen: 



HUB 


KG: HI ED : ONE fl^M 339939E1 


OX 


c_o - 


G_3 velocity>Rl: 


+00 






velocity>R4: 


+00 






off velocity >R4: 


+00 






key>R2 Si R4: 


+00 






ye 1 oc i t y > enve 1 ope: 


+00 




EEHfliaaaaHMiiHMHBiHHBiHBBBlB env3 



Again, because the parameters are identical to ENV2, please refer to that for more information. 



S3200XL Operator's Manual - Version 1.00 



Page 113 



EDIT PROGRAM - SINGLE 



KEYGROUP PITCH/AMPLITUDE MODULATION 

The final page in PROGRAM EDIT is where you may assign modulation to pitc h and a mplitude 
for individual keygroups. This is accessed via the KGRP page by pressing laifiSI. You will 
receive this screen display: 



HHSMSaa kg: 



C_0-G_1 



ED: ONE I^JJrJiId^TCl 0* 



LF01 > pitch: +50 
Enu2 > pitch: +00 



Uelocity > loudness: +QQ 

GEHa Haas e=h3b sm nan e=khi ptch 



Along the top of the screen we have the usual parameters for selecting the keygroup and the 
program. The other parameters on this page are: 

LF01 > pitch: This is a fixed, preset assignment that routes the LFO to pitch. 

Unlike virtually every other modulation input we have seen so 
far, this one is fixed in order to maintain compatibility between 
other Akai samplers. It is also done to allow ease of use when 
setting up vibrato. 

The range for this parameter is +/-50 allowing inverted pitch 
effects to be created (especially useful when using square 
and sawtooth waves) and the default for this parameter is +50. 
This means that the modwheel is always active for vibrato 
without you needing to program or set anything up on LF01. 
It also means you only have to set a value in the depth field of 
the LF01 page to have a constant vibrato. 

NOTE: If you wish to use LFOI for some other modulation application such as filter sweeps, 
panning, etc., you will need to turn this value to 00 otherwise pitch will also be modulated 
unless, of course, that's what you want. 



Enu2 > pitch: 



Ue 1 oc i t y > 1 oudness: 



It is not possible to route any other controllers in this field. 

This is a freely assignable modulation input and any source 
may be selected here. ENV2 is selected as the default again 
as means of ensuring compatibility between the older 
samplers and the S3200XL. Feel free to route anything you 
like to this field. Some suggestions are shown on the next 
page (SUGGESTIONS FOR THE PITCH MOD2 INPUT). 

This is another freely assignable modulation field that affects 
individual keygroups' loudness and Uelocity>loudness: 
has been Inherited' from the S1000 and S1100 to ensure 
compatibility between different samplers' sound disks. You 
may of course, assign anything you want here. Some ideas 
are LF01 or LF02 for tremolo effects (try layering keygroups 
and setting one keygroup to a positive value and the other to 
a negative value to create undulating crossfades between two 
samples). Any of the MIDI controllers such as modwheel, 
pressure, bend, etc., may also be used to control loudness. 



NOTE: The LOUDNESS modulation here is different from that we saw earlier in the OUT 
page. The OUT page is master control for the level of the whole program - this parameter in this 
page is applicable to individual keygroups. 



Page 114 



S3200XL Operator's Manual - Version 1.00 



EDIT PROGRAM - SINGLE 



SUGGESTIONS FOR THE PITCH MOD2 INPUT 

Because the second modulation input for pitch 
possibilities you may like to try: 



is freely assignable, there are many 



Pitchbend 



Although there is a global pitchbend function in the 
modulation pages, you might like to use this to individually 
bend keygroups separately. The values for pitchbend range 
are: 



+04 


1 semitone 


+09 


1 tone 


+13 


minor 3rd 


+17 


major 3rd 


+21 


fourth 


+26 


6 semitones 


+30 


fifth 


+34 


8 semitones 


+38 


9 semitones 


+42 


10 semitones 


+46 


11 semitones 


+50 


1 octave 



Modwheel 



Be sure to turn the pitchbend parameters to in the 
modulation pages unless you wish to add the above values to 
the pitchbend set there. 

Use this instead of pitchbend. The values for pitchbend are 
the same as above. Be sure to turn modulation to +00 in the 
LF01 > pitch: fj e ld above unless you wish the bent note to 
also have vibrato. 



Pressure 
External 



Use this instead of either of the above. The same values apply 

Any of the 128 MIDI controllers may be used to control pitch. 
Useful ones that immediately spring to mind are footpedal or 
breath. 



Velocity 



Key 



Lfo2 



Env1 

! Modwheel 



Use this so that differing velocities will affect pitch. This may 
be useful on some percussive sounds which have a different 
pitch for each note - for example, an African talking drum or 
pedal tympani. 

Although this may appear pointless as the keyboard is also 
routed, by setting a negative value here you may set up micro 
tonal scales. By setting a positive value you may extend the 
usual keyboard tuning. 

Add this to LF01 for a more varied vibrato with ensemble 
sounds. Alternatively, setting LF01 and LF02 accordingly, 
you may create some odd special effects. LF02 could also be 
set to provide a square wave octave jump whilst LF01 
provides vibrato as normal. Many possibilities exist. 

Use this to create pitch sweeps that vary according to the 
sounds overall level. 

Use this and the other "!" controllers to affect pitch at the point 
of note-on. 



S3200XL Operator's Manual - Version 1.00 



Page 115 



EDIT PROGRAM - MULTI 



EDIT MULTI 

EDIT SINGLE and EDIT MULTI are both essentially the same but there is one big difference. In 
EDIT SINGLE, you can select any program for editing or create new ones or delete existing 
ones but, in EDIT MULTI, you can only edit the sound assigned to the currently selected part. 

For example, let's say the attack of the string sound in PART 4 of the multi is too slow - in MULTI 
mode, move the cursor to PART 4 and then press EDIT - this will take you immediately to the 
offending strings program that needs adjustment and you may tweak its attack time 
accordingly. 

However, you will note that when editing a program in EDIT MULTI, you still hear the other 
programs in the MULTI. This means that you can edit the program WITHIN THE CONTEXT OF 
THE MULTI AND THE SEQUENCE THAT IS PLAYING. To use the above example again, as 
the sequencer is running, you can select PART 4 and press EDIT and adjust the attack time 
while the string part is being played alongside the other parts. This means that you can make 
adjustments intuitively within the context of your song. 

Also, when parts are layered on the same MIDI channel or when you have set up key splits, you 
can hear the other layer(s) whilst editing a sound. Furthermore, if two identical programs are 
layered on top of each other (for example, with detune, etc., for a fatter sound), selecting one 
of them will cause both to be edited simultaneously. Using the above example again, if you feel 
the attack of the strings program layered in part 1 and 2 is too slow, select one of them, press 
EDIT and edit the attack time - both programs will be affected. 

All this differs from most other modules where SINGLE and MULTI are two totally separate 
modes and the EDIT SINGLE key refers to editing the single sound and the EDIT MULTI key 
refers to editing or setting up the multi-mode's parameters. On the S3200XL, the MULTI mode 
is always active for setting up parts and EDIT MULTI is used for editing the programs assigned 
to the parts. On most synths or samplers, in the above example, to edit the string's attack time, 
you would have to leave MULTI, go to SINGLE, find the string sound, press EDIT and edit it out 
of context (i.e. you can't hear the other parts playing ). You would then need to return to MULTI 
and check it there. Of course, if the sound is still not quite right, you must repeat the whole 
process again. Not so on the S3200XL - simply select the appropriate part and press EDIT to 
adjust the sound within the context of the multi until it's just right. 

However, there are some program parameters that are not relevant to EDIT MULTI and these 
are omitted when you enter EDIT from the MULTI mode. These include parameters such as 
output level, pan, FX sends, MIDI channels, etc., which, of course, are set in the MULTI mode. 

SCREEN DIFFERENCES IN EDIT MULTI 

When in the MULTI mode, pressing EDIT will show something like this screen display: 



PROGRAM EDIT 



key groups: 

samples: 

KG crossf ade: 

Mono Legato: 



program: |=»=Bi;tiil^| 3\ 

1 

1 
OFF 
OFF 



progs in nen: I 
listen solo: OFF 



MULTI part: 
parts active: 



main laciaa ibmm lanoi WSSM H3M IDiaia 



This differs from EDIT SINGLE slightly in that you cannot select another program. To select 
another program for editing in EDIT MULTI, return to the MULTI mode (i.e. press MULTI) and 
select the part that contains the program you want to edit. Neither can you rename or delete 
programs in EDIT MULTI as a safeguard against corrupting a MULTI you may have taken time to 
create (if you really want to delete a program, go to EDIT SINGLE). You will note that in EDIT 
MULTI, the part number and the number of active parts are shown on this page for your 
information. 



Page 116 



S3000XL Operator's Manual - Version 1.00 



EDIT PROGRAM - MULTI 



Whilst nearly every function in EDIT MULTI is the same as EDIT SINGLE, some screens are 
different. For example, the OUTPUT screen in EDIT MULTI looks like this: 



OUTPUT LEUELS 



< PROGRAMS ■laraMaanaSETSl 0'-: 
LOUDNESS CONTROL 
basic loudness: SO 
velocity > loud: +20 
Key > loud: +00 
Pressure > loud: +00 
BEflfl E@3a KEEl EHOH OUT EEHIEMS 



Because stereo level, pan, output and effects assignment are MULTI parameters, these are 
not accessible in EDIT MULTI. However, you can edit the loudness and the loudness 
modulation parameters as these are program parameters. 

The MIDI page also differs: 



MIDI RESPONSE 



< program > jjMmaangaaa o-. 

program number: 1 
polyphony: 32 
r eass i gnment : OLDEST 

BEoa Haas maa nidi EiniE&iaEMS 



Parameters such as the program's MIDI channel, key range, priority and transpose are omitted 
as these are MULTI parameters set within each part of the multi-file. 

Apart from these differences, however, EDIT SINGLE and EDIT MULTI are identical so please 
refer to EDIT SINGLE for more information on editing the other program parameters. 



S3000XL Operator's Manual - Version 1.00 



Page 117 



SAMPLE 



SAMPLE MODE 

In SAMPLE mode, you may record sounds and in EDIT SAMPLE mode you may, amongst 
other things, trim, loop, join, merge, reverse, re-sample and timestretch recordings. But before 
we can do any of that, we first need to make some recordings. 

WHAT IS SAMPLING? 

Sampling is a process where we record sound digitally. All natural sound comes in the form of 
variations in sound pressure. Using a microphone, we can convert those changes in air 
pressure into rising and falling voltages. Once they exist in that format, we can process them 
through ANALOGUE TO DIGITAL CONVERTERS (ADC) to turn those voltages into streams of 
digital data. Once they exist as digital data, we can edit them with alarming precision. 




a 




SOUND 



MIC 



VOLTAGE 
WAVEFORM 



ADC 



DIGITISED 
WAVEFORM 



In the ADC, the sound is 'sampled' at a rate of 44,100 times per second. You can liken this to 
film. If we take a lot of photographs in very quick succession, when we play it back, we have the 
illusion of movement. The same is true of sampling. If we take enough samples, we get an 
accurate reproduction of the sound. To carry this analogy even further, if you think of the very 
early days of film where they didn't take so many frames in a second, the results were jerky and 
distorted. The same could be said about old samplers - because they sampled less (that is, the 
sampling rate was lower), the sound quality was not so good. In order to reproduce sound 
accurately, you need to sample at a frequency that is at least twice the upper reaches of the 
sounds frequency range. In other words, if a sound contains frequencies that extend to, say, 
15kHz, you need to sample at 30kHz at least. Instruments such as cymbals which are very 
bright and contain many overtones need to be sampled at 40kHz. A bass drum, however, 
which has very few upper harmonics, could feasibly be sampled at 20kHz. 

The S3200XL samples at 44.1kHz, the same as compact disc so you can be sure you are 
getting CD quality sound from your sampler. 

The digitised waveform is loaded into RANDOM ACCESS MEMORY (RAM) where it exists as 
numbers. As you know, computers and microprocessors are very good at dealing with 
numbers and so we are able to rearrange those numbers and so alter the sound. 

At the end of the process, we need to be able to convert those numbers back into an electrical 
analogue waveform and so the numbers are reconstituted into analogue via DIGITAL TO 
ANALOGUE CONVERTERS and output to your mixer or amplifier. 



Page 118 



S3200XL Operator's Manual - Version 1.00 



SAMPLE 



One of the inherent problems with sampling is the RAM and because of cost, it is not possible 
to have an endless supply of it installed in the sampler (sadly!) although the S3200XL does 
allow up to 32Mbytes of RAM and a further 16Mbytes of Flash ROM to be installed offering 
nearly nine minutes of storage. As a result, our recordings (or samples as they are more 
commonly known in the music industry) have to be kept fairly short. In order to make them last 
longer so that long notes can be sustained, we need to loop them. This involves selecting a 
portion of the sound that will repeat over and over again when we hold our finger(s) on the 
keyboard. 




The biggest problem, though, is the nature of the sounds you sample. Most musical 
instruments have particular resonant frequencies (or 'formants' as they are sometimes called) 
plus other characteristics such as vibrato, etc.. In the instrument themselves, these 
characteristics stay constant regardless of the notes being played but, on a sampler, because 
you are transposing the sound up and down (slowing it down and speeding it up much like a 
tape recorder), these are also transposed which leads to a phenomena quaintly referred to as 
"munchkinisation". We have all laughed at hearing our voice speeded up on a tape recorder 
sounding like some bizarre cartoon character - the same will happen on a sampler and this is 
because the voice has formants and other attributes which do not transpose well. Similarly, the 
sound's envelope will change - transposed down an octave, a percussive attack will sound 
quite sluggish. 

To overcome this, we need to use a technique known as MULTI-SAMPLING - that is, taking 
various samples of the instrument at a variety of pitches across its range so that, at any one 
time, the sound is never transposed too much and so avoids serious "munchkinisation" and 
envelope distortion. Typically, you can get away with one sample per octave but some difficult 
instruments with strong formants need more. The saxophone and piano are two instruments 
that spring to mind and which are notoriously difficult to capture. 

Another property of an acoustic instrument is that it can make so many sounds depending on 
how it's played. When played softly, the sound is not only quieter but softer in tone and, when 
played hard, is louder and brighter. Some instruments have quite extreme ranges in tone. 
Coupled with playing techniques (i.e. thumbed and slapped bass, bowed and plucked violin), 
to accurately replicate this on a sampler, we can take different samples according to playing 
styles. On the S3200XL we have four velocity zones that allow us to use playing technique to 
switch between these different samples so that you could, for example, use velocity to switch 
between a slow legato viola and an aggressively bowed viola. 

Of course, a lot of the time you can take just a few samples, loop them for sustain, map them 
out across the keyboard and have perfectly acceptable results which are usable in a wide range 
of applications. For some sounds such as drums and percussion, you don't need to loop. 

Let's now have a look at the recording functions 



S3200XL Operator's Manual - Version 1.00 Page 119 



SAMPLE 



RECORD MODE 

Pressing SAMPLE enters the record or 'sampling' mode. The first screen you see is the 
RECORD SETUP page where you may set certain parameters related to recording. 







RECORD SET-UP B=hU -IE 


nane: STRING C4 


node: EEHEI LEFT 


exists! 


source: ANALOG ELEC 


bandwidth: 20kHZ 


start: INPUT LEUEL 


orig. pitch: C_4 


monitor: ON 


record tin: 1.00s 


<F>ree: 2257360= 73* = 44100= 1* 


SET ES9 





This shows that you have named (or selected for over-writing) a sample called STRING C4. You 
may select another sample for recording over if you wish (assuming they exist, of course!) by 
moving the cursor to the sample name field and scrolling through the available samples. You 
may also rename or copy the sample in the usual way by pressing NAME - you will receive this 
prompt: 





Ir-laHilr-liHahBIJd sample 


name: WIRING C4 1 


node: EEHEI LEFT 


exists! 


source: ANALOG ELEC 


bandwidth: 20kHZ 


start: INPUT LEUEL 


orig. pitch: C_4 


monitor: ON 


record tim: 1.00s 


<F>ree: 2257360= 73* = 44100= 1* 


LETTERS . . {NAME for numbers ENT to exit} 



The first character of the name will be highlighted. Use the front panel keys to enter a suitable 
name of up to 12 characters. Press NAME again to use the numeric keypad to enter numbers. 

As soon as you create a new, unique name, you will see - new - displayed under the sample 
name: 





Ir-lshMr-liHsheiJd sample 


name: [aiDHMttil 1 


mode: fiEHID LEFT 


- new - 


source: ANALOG ELEC 


bandwidth: 20kHZ 


start: INPUT LEUEL 


orig. pitch: C_4 


monitor: ON 


record tim: 1.00s 


CF^ree: 2257360= 73* = 44100= 1* 


LETTERS . . CHAME for numbers ENT to exit} 



Finally, to finish naming, press ENT/PLAY. 
The fields on this page are: 



mode: 



Here you may select between stereo or mono recording. If you select 
STEREO, the sample will automatically have -L and -R appended to both the 
left and right samples respectively after the recording has been made. After 
that, any editing you do will be done in stereo unless you specifically switch 
back to mono. 



To the right of this parameter is another (shown LEFT in the above example). 
This allows you to select which of the channels will initiate the recording when 
STEREO is selected and you are using INPUT LEVEL to start recording (see 
below - start:. When MONO is selected, this field defaults to LEFT but, when 
STEREO is selected you may set which input channel you want to trigger 
recording. 



Page 120 



S3200XL Operator's Manual - Version 1.00 



SAMPLE 



source: Here you may select the input source. The options are ANALOG (the rear 

panel jack inputs) or DIGITAL (the digital audio input). When DIGITAL is 
selected, you may select ELEC (electrical - i.e. the jack sockets on the digital 
I/O) or OPTI (the optical input on the digital I/O). Although displayed when 
ANALOG is selected, the ELEC/OPTI field has no function. 

start: This field allows you to select how recording will be initiated. The choices are: 

INPUT LEVEL - this selects that recording will begin once a threshold level has 
been exceeded. This is the default setting and one that is used by most 
people. The threshold is set in the REC page. 

MIDI NOTE - this selects that recording will begin when any MIDI note is 
received. This is very useful when sampling a sound from a synth because the 
note-on that makes the sound can also be used to start the recording. 

FOOTSWITCH - with a suitable footswitch connected to the FOOTSWITCH 
input, this selects that the action of the footswitch closing will start recording. 
This may be useful for 'hands free' sampling. For example, let us imagine you 
are sampling a heavy metal guitar though a rather noisy amp and you are doing 
the playing yourself. Threshold based recording is no use because the 
background hum would set the sampler off. In this case, the footswitch may 
help. 

monitor: Here you can select how you will monitor the signal you are sampling. There 

are two options: ON will select that as soon as you enter the REC page, the 
signal you are sampling will be heard 'through' the S3200XL. At the end of 
recording, it will automatically switch this 'through' signal out so you can hear 
your new sample. The other option, OFF, switches the through signal off 
completely (although this may be overridden in the REC page if you wish). 
This is used when monitoring the signal you are sampling through a mixer. 



NOTE: If you are sampling from a mixer it is possible to get 'feedback' if the S3200XL is also 
connected to that mixer, set to ON and its channels are open.. 



(F>ree: This is not accessible but merely shows the amount of free memory. The 

percentage of free memory is also displayed. The 'F' is in parentheses 
because this field is shown in other pages of the SAMPLE mode as an 
abbreviation. 

bandwidth: This sets the bandwidth for the recording you are about to make and you have 
two choices - 20kHz and 10kHz. Don't be put off by the 10kHz option because 
you can make very respectable recordings at this sample rate. It is not possible 
to sample at any other rates but, if you wish, you may sample at 44.1kHz (i.e. 
20kHz) and then re-sample it later to, say, 15kHz to save on memory space. 

orig. pitch: This sets the base pitch for the sound you are about to sample. At this point, 
you don't have to worry too much about this because you can set this 
parameter in the REC page and you can re-tune your sample in the SAMPLE 
EDIT mode later if necessary. 

record tin: Here you may set the length of the sample you are about to make. The range 
is limited only by available memory space and whether the sample is stereo or 
mono. Again, you needn't worry about setting this field now as you can set it 
later in REC if you prefer. As you set this field, the fields below show you how 
much memory the new sample will take. 



S3200XL Operator's Manual - Version 1.00 



Page 121 



SAMPLE 



If you are not sure how long to set this, it is best to set it longer than you think 
you need. Samples can always be trimmed and edited later. 

Once you have set the parameters as you like on this setup page, you don't have to worry 
about them for the rest of the sampling session as these are retained from sample to sample as 
you record them. 



IMPORTANT NOTE - SAVING RECORD PARAMETERS TO DISK 

It is possible to save your own set of record parameters to disk. By setting the parameters as 
you need them, save the operating system to floppy disk (go to SAVE, move the cursor to 
'type of load:' and select OPERATING SYSTEM. Now press WIPE and/or GO). This will save 
your personal record parameters to disk. From now on, when you boot up with this floppy in 
the drive, these record parameters will always be set for you. If you have a particular way of 
working, this may be invaluable and a great time saver. 

If you have several different ways of working, you might like to save different record set-up 
parameters to different disks and use the appropriate operating system as and when you need 
it. You will note that you cannot save several operating systems on one disk - you will need a 
separate disk for each system you save. Please refer to the SAVE section for more information 
on saving files. 



Page 122 S3200XL Operator's Manual - Version 1.00 



SAMPLE 



THE MAIN RECORD PAGE 

To actually make a recording, press F2. You will see something like this screen:: 



S^Haa BMH exists! STRING C4 73* F 
-20dB ptch:C_4 tin: 1.00s= 44100= 1* 


D 




MA** REC IMof f 1 1 ARM 1 



This is the main record screen. In this example, we can see that a sample called STRING C4 is 
selected. Before you can do any recording, you must name the sample you are about to 
record. If you have just switched the S3200XL on with no disk in it, you will have the four synth 
waveforms in there. Use one of these as the basis of your new sample. 

NAMING SAMPLES FOR RECORDING 

To copy or rename a sample, press the NAME key - this turns the front panel keys into letter 
entry keys and you may type in a name of up to 12 characters (upper case only). The +/< and 
-/> keys input backspace and spaces accordingly and the MARK and JUMP keys input '#' and 
7 respectively. You will see this screen: 





Ir-lshMr-lil MONO exists! HIRING CA I 73* F 


-20dB ptch:C_4 tin: 1.00s= 44100= 1* 


D 




LETTERS . . CNAME for numbers EHT to exit} 



Pressing the NAME key again switches the numeric keypad from letters to numbers and you 
will receive this prompt: 

| NUMBERS ■ ■ tHRME for letters EHT to exit>| 

You may press NAME again to access the numeric keypad's letters. When in the 'numbers' 
mode, the +/< and -/> keys input V and '-' to a name. Pressing NAME again reverts you to 
entering letters from the numeric keypad. 

Alternatively, in conjunction with the CURSOR keys which can be used to move the cursor 
around within the name, you can use the DATA control to scroll through characters. 

When you have entered a unique name, you will see - new -appear next to the sample name 
indicating that the name you have entered is unique: 



HESESg MONO - new - HJ3CMS Zl 73* F 

-20dB ptch:C_4 tin: l,QQs= 44100= 1* 



If - new - does not appear, then a sample of the same name already exists in memory. 



TIP 1: It is worth taking the time to name your samples sensibly. It may be quick to simply call 
them SAMPLE 1, SAMPLE 2, 3, 4, etc., but, when you come to put them into a program, 
these names may not mean much to you. If you return to them in a week they certainly won't! 
Names like PIANO C#3 are best - this tells you the instrument and the note it is sampled on so it 
will be easier to set your program up later when you come to assign your samples to specific 
keyranges. 



S3200XL Operator's Manual - Version 1.00 



Page 123 



SAMPLE 



TIP 2: If you are about to make a lot of recordings of a similar type, put the note number first 
(i.e. C#3 PIANO, E 3 PIANO, G 3 PIANO, etc.). In this way, you don't have to cursor through 
the whole name to give the sample its unique note identifier. 



Once you have named the sample, you are now ready to make a new recording. First, 
however, let's have a quick look at the parameters on this page. 

IMifl] You may select to record in MONO or STER(eo). When you opt to record in 

stereo, two samples will be created and -L and -R will be appended to each of 
them to indicate the left and right sample. 

ptch: This sets the note on which the new sample will be placed when you record it. 

The default is C 3 but you may set any note you like. You will note that you can 
set the note by specifically moving the cursor to this field and using the DATA 
wheel or you may set it by playing the note on your MIDI controller (i.e. 
keyboard). 



NOTE: To set the note from a MIDI controller, you must be monitoring the input signal (i.e. F7 
should be showing iMoffl ) and, of course, the controller should be on the same MIDI channel 
as the S3200XL. 



tin: This sets the length of time you will record for. 

The page also shows what percentage of memory is free, the current sample rate (44100) and 
the size (expressed as a percentage of available memory) of the sample you are about to make. 



Page 124 S3200XL Operator's Manual - Version 1.00 



SAMPLE 



ADJUSTING THE RECORDING AND THRESHOLD LEVELS 

Record levels are set by adjusting the front panel 'REC LEVEL' control. The level control 
should be adjusted so that the input meter to the left of the RECORD screen is as near to the 
top as possible. 

If you have selected INPUT LEVEL as the start mode in the RECORD SETUP page, you will 
need to set the threshold level here. The default has been sensibly chosen for most purposes 
but you may find that some sounds with a slow attack are clipped slightly. To set the threshold, 
move the cursor to where it says -20dB. As you input your audio signal, set the threshold level 
accordingly so that it is low enough to catch the signal but not so low as to start recording on a 
false start. You will see a screen display such as: 



0181133 GMEI - new - STRING C5 73*F 
-20dB ptch:C_4 tin: 1.00s= 44100= W. 


1 

E 




[H REC IMoFFllTiEFn 



You will see the small level meter to the left of the screen bobbing up and down in accordance 
with the incoming audio signal and the threshold should be adjusted according so that the 
signal is just going slightly into the threshold box. It maybe that some adjustment of the front 
panel REC LEVEL control is also necessary. Once you have set the threshold level to your 
satisfaction, you are ready to make a recording. 

RECORDING ON THE S3200XL 

Assuming all your parameters are correctly set, all you need do is press I RRM I. You will receive 
the following prompt: 



IL 



UAITING FOR START 



GO EXIT 



This indicates that either the threshold level has not been exceeded yet or, if MIDI NOTE is 
selected as the start type in the RECORD SETUP page, that a MIDI note has not been 
received. If FOOTSWITCH is selected as the record start type, this screen indiactes that the 
S3200XL is waiting for to hit the footswitch. You may also start manually by pressing GO. If you 
change your mind when this prompt is displayed (i.e. because you suddenly realise that 
continuing with the recording is going to overwrite a valuable existing sample, for example), 
you may press EXIT. Assuming you press GO (or any of the start types get the thing going), 
you will receive this display: 



- new - STRING C5 73*F 
-20dB ptch:C_4 tin: 1.00s= 44100= 13s 




RECORDING analog 



ABORT 



The display will fill up with the sound as it is recorded. You may, at any time, abort the recording 
by pressing F8. This will finish the recording process early and abort that sample. This is useful 
if some mistake is made during the record process or you were recording over another sample 
you wanted to keep. 

After the recording has finished, the monitoring of the incoming signal through the S3200XL is 
now automatically switched off allowing you to play the new sample directly from the k eyboar d 
or the front panel ENT/PLAY key. To switch the monitoring back on again, press iMon I - 



S3200XL Operator's Manual - Version 1.00 



Page 125 



SAMPLE 



METER ON. When you press IMon I, the legend of that key changes to IMoffl (i.e. this key will 
switch monitoring OFF). If you wish to take t he sample again, there is no need to switch the 
meter back on again because pressing I RRM I will do this automatically. If, however, you wish to 
either listen to the sourc e agai n (in the event of a mistake, perhaps) or set up for the next 
sample, specifically press IMon I to switch the monitoring back on. 

If after making a recording, you im mediate ly want to make your next recording, simply switch 
the monitoring back on again (press IMon I), name the next sample and set a new base note if 
you need to (t he eas iest wa y is fro m the keyboard but the meter does have to be switched on 
for this - press iMon I) Press CBE0H to start recording again. 

DIGITAL RECORDING 

Using the digital input, you may record digitally into the S3200XL. This offers excellent sound 
quality with no deterioration of signal or increase in noise. If you own many sampling CD's (as 
distinct from CD ROM which is a different thing altogether), recording digitally is the obvious 
choice. The digital input is selected in the RECORD SETUP page described earlier. When DIGI 
is selected as the input source, the RECORD screen looks like this 



Bg§iag BUSH - new - STRING C5 TZy.F 
-20dB ptch:C_4 tin: 1.00s= 44100= \V. 


D 


receiving 44.1kHZ 


MM REC IMof f 1 1 ARM 1 



This is virtually identical to recording analogue except that you can see the message indicating 
that the S3200XL is receiving digital audio correctly where it says "RECEIVING 44.1kHz". If 
there is some problem with the digital audio signal, you will receive the following display: 



IdaMfldfl BUSH - new - STRING C5 73*F 
-20dB ptch:C_4 tin: 1.00s= 44100= W. 


D 


URITING FOR CARRIER 


E 


!*■ REC IMof £ 1 1 ARM 1 



This indicates that the digital audio signal is not getting to the S3200XL. Please check your 
connections carefully - it could be that the cable has become disconnected. Also, check that 
the DAT machine or CD player is switched on. 

You can rename and copy samples in exactly the same way as we have already seen. 



Assuming everything is connected properly and set up correctly, when you press I RRM I you 
will receive the usual prompt: 



IL 



UfllTING FOR START 



60 EXIT 



Page 126 



S3200XL Operator's Manual - Version 1.00 



SAMPLE 



If you press GO or when the threshold is exceeded, the MIDI note is received or the footswitch 
is pressed, the S3200XL will start recording and you will get a display something like the 
following: 



- new - STRING C5 73*F 
-20dB ptch:C_4 tin: 1.00s= 44100= IK 




RECORDING digital at 44-lkHZ 



ABORT 



This indicates that the S3200XL is recording digitally. As with analogue recording, the display 
fills with the incoming sound's waveform. 



NOTE: The S3200XL has difficulty recording at 48kHz (i.e. from a DAT machine). You will 
receive the following warning if you try to record at 48kHz: 



laaaoaa ISBBIB - new - 
-20dB ptch:C_4 tin: 


STRING C5 73JJF 
1.00s= 44100= Vs. 


D 


UfiRHIHS ! 48k HZ 


E 


[O REC 


IHoTTllTiEFn 



It is advisable not to record at 48kHz. 



Having successfully made your recording(s), analogue or digital, we can now move on to 
sample editing. 



But first... 



SAVE YOUR SAMPLES TO DISK NOW 



It is good practice to repeatedly save your work as you go - all good programmers do this and it 
is a good habit to get into. You may make a mistake and accidentally record over a precious new 
sample, you may trip over the power cord and disconnect the mains, you may have a power cut 
- these things do happen!! 



S3200XL Operator's Manual - Version 1.00 



Page 127 



EDIT SAMPLE 



EDIT SAMPLE 

Assuming you have made a few recordings, let's move on to see how we can edit these. 

To edit a sample, press EDIT (of course, you must first be in SAMPLE mode). You will see this 
screen: 





SAMPLES IN MEMORV^ 


sample: l^lj^a^^H 
size: 256 
Free: 2370832=100* 
samples in men: 6 
monitoring program: - 
MONITOR 




name: PULSE 
exists! 

node: MONO 

slct iiaiBi nana tsssss 


■JJHillM^ 1 DEL 1 



Here we see one of the default sample waveforms, a pulse wave called, not surprisingly, 
PULSE. Also on this screen is information regarding the current state of your memory and you 
can see the size of the selected sample, how much memory is free and how many samples are 
currently in memory. 

In EDIT SAMPLE, there is an alternative, temporary style of display that allows you to see 
sample length, etc., in milliseconds and you may toggle between the two types of display by 
pressing and holding down any of the page keys again. You may also press the page key again 
to toggle between displaying MIDI notes as numbers or as names. In this page, pressing SLCT 
will switch between sample point and millisecond displays and will display this screen: 





SAMPLES IN MEMORY^ 


sample: l^j^a^^H 
size: 5MS 
Free:210005MS=100* 
samples in mem: 6 
monitoring program:- 
MOHITOR 




name: PULSE 
exists! 

mode: MONO 

slct nam nana Bwgre 


■JHIIIMSa 1 DELI 



NOTE: The millisecond display is purely for reference - you cannot actually edit in 
milliseconds. 

Only two fields are available in the SLCT page 

monitoring program:- allows you to monitor a sample you are making or have made or are 
editing referenced to the program it is placed in. For example, let us say you have made a snare 
drum sample and this is placed into a program DRUMS 1. By selecting DRUMS 1 in this field, 
you will be able to edit it in EDIT SAMPLE whilst listening to the other drums in the program. 
For example, to trim the start of the snare so that it 'feels' just right, you may want to monitor the 
other drums as well, maybe even sequence them as you are editing. The mode: field allows 
you to select whether your editing will be in MONO or STEREO. This may be set here and in 
other pages if you wish. 



Page 128 



S3200XL Operator's Manual - Version 1.00 



EDIT SAMPLE 



The soft keys along the bottom are: 

SLCT This indicates you are on the sample select page. Press this to switch 

between sample points and millisecond displays. 

Iiaiil This takes to you to the TRIM page where you may edit the start and end of a 

sample. 

HOia This takes you to the LOOP page where you may set loops for the sample.. 

This takes you to the gain normalise page where you may set the sample's 
level to its maximum thereby getting the best signal to noise ratio and dynamic 
range out of the sampler. 

This takes you to the DIGITAL SIGNAL PROCESSING pages where you may 
timestretch or re-sample the sample or apply EQ. 

IMS=I This offers a set of further editing functions where you may perform 'sectional' 

editing (that is, remove sections from samples), join, splice, mix, tune and 
reverse samples and set fades. 

LEELJ This allows you to delete samples from memory. 

We will come to these in a moment. 



S3200XL Operator's Manual - Version 1.00 Page 129 



EDIT SAMPLE 



NAMING SAMPLES - COPYING AND RENAMING 

There are times when you want to rename a sample or copy it. You may want to rename it just to 
give it a more meaningful name. You may want to copy a sample so that you can work on it with 
no harm coming to the original. 

To copy or rename a sample, press the NAME key - this turns the front panel keys into letter 
entry keys and you may type in a name of up to 12 characters (upper case only). The +/< and 
-/> keys input backspace and spaces accordingly and the MARK and JUMP keys input '#' and 
7 respectively. You will see this prompt: 

| LETTERS ■ ■ <!HRME for nunbers EHT to exit7| 

Pressing the NAME key again switches the numeric keypad from letters to numbers and you 
will receive this prompt: 

| NUMBERS ■ ■ <!HRME for letters EHT to exit)| 

You may press NAME again to access the numeric keypad's letters. When in the 'numbers' 
mode, the +/< and -/> keys input V and '-' to a name. Pressing NAME again reverts you to 
entering letters from the numeric keypad. 

Alternatively, in conjunction with the CURSOR keys which can be used to move the cursor 
around within the name, you can use the DATA control to scroll through characters. 

When you have entered your name, press ENT and you will get this prompt: 
| Select: ICDF71 ITFFTI I^TTI | 

Pressing ICOFYI will copy the original sample. If the sample name is an existing one, the boxed 
area to the top left of the screen will show something like: 



nane: STRING C3 
exists! 



You will receive the following prompt: 

|" MUST USE fl DIFFERENT HflME !! 



You must enter a unique new name. 

Pressing l REM I will simply rename the currently selected sample with the name just entered. If 
the name exists, you will be prompted as above and you must re-enter a unique name. 

Pressing lexitl will exit the naming process altogether with no action taking place. Should 
you press this by mistake, you will see that the boxed area to left of the screen still retains the 
new name you entered so press NAME immediately followed by ENT and make your choice 
again. 



Page 130 S3200XL Operator's Manual - Version 1.00 



EDIT SAMPLE 



It is worth taking the time to name your samples sensibly. It may be quick to simply call them 
SAMPLE 1, SAMPLE 2, 3, 4, etc., but, when you come to put them into a program, these 
names may not mean much to you. If you return to them in a week they certainly won't. Names 
like PIANO C#3 is best - this tells you the instrument and the note it is sampled on so it will be 
easier to set your program up later when you come to assign your samples to specific 
keyranges. 

DELETING SAMPLES 

It is possible to delete samples using the LEELJ key - F8. Pressing this will give you the 
following prompt: 

| delete one sample ? GO RBQRT| 

and you should press F7 or F8 accordingly. 



NOTE: Deleting samples is destructive. Please ensure that you have saved them to disk 
before deleting in case you want to come back to them at a later date. 



S3200XL Operator's Manual - Version 1.00 Page 131 



EDIT SAMPLE 



TRIMMING SAM PLES 

Pressing liaiil in the main SLCT page will take you straight to the TRIM page and you will 
receive a display something like the following: 



TRIM edit -node: MONO laiaiaffSMigM 73*F 
start: 1700 end: 44111 




EHS1 trim wiiiia isiiiasi mm [gnrm H=5imTn 



This shows the waveform of the selected sample. You may edit the start and end of the sample 
accordingly. 

The fields along the top allow you to select whether you want to edit is STEREO or MONO (it's 
pointless selecting STEREO if the sample is mono, by the way!) and you may, if you wish, 
select another sample for editing. The figure to the right of the top line shows how much 
memory is free. 

Moving the cursor to the start: field allows you to move the start point. You will remember 
from the INTRODUCTION that you can change large numbers such as this in several ways. You 
may type in a number directly from the numeric keyboard or you may use the DATA control. 
Each number field is separately accessible allowing you a great deal of flexibility in editing such 
large numbers. In the above example, to make a big change to the start point, move the cursor 
to the 1 of 1700 using the +/< key found on the numeric keypad - as you move the DATA 
wheel, you will increment in big jumps. This is good for getting someway into the sound with 
little effort. When you are close to where you want to be, move the cursor one position right 
using the -/> key to edit the start point in smaller increments. As you get closer and closer to 
the point you want to set, you can use finer incrementation until, with the cursor on the f urthest 
righ t field, you are editing to a resolution of individual sample accuracy. You ca n use th e I ZIB I 
and IZL1LII] keys to zoom in or out of this window to see more or less detail. The B — > key (F7) 
asllows you to 'toggle' between viewing the start or end of the sample. All the time you are 
editing and changing values here (or in any sample editing fields), you can hear the results in 
real time by playing the keyboard. 

Moving the start point will give a display such as: 



TRIM e dit-Hode :MQHQ 
start: ^^BSS3 end: 



STRINGS C4 
44111 



73*F 




MB5i trim hbbh EBBfl mm epdti EF=amrn 



You will see a vertical line indicating the position of the start point. This is adjusted using the 
DATA control. 



NOTE: If the THRESHOLD parameter was set correctly during record, the start time should be 
right on the start of the sample and there should be little or no need to adjust this unless you 
really want to. You can check if there is a delay by playing the sample a few octaves down as 
this will exaggerate any delay that may exist 



Page 132 



S3200XL Operator's Manual - Version 1.00 



EDIT SAMPLE 



Moving the cursor to the end: field and adjusting that will give you a display such as: 



TRIM edit-node:M0H0 
start: 5700 end: 



STRINGS C4 



73*F 




MB5i trim hbbh EBBfl mm eputi H=a mm 



As with the start: field, you may move the cursor around the numeric field using the +/< and 
-/> keys found on the numeric keypad. Running across the top of the waveform display you will 
see up to four horizontal lines which show you where you have set your loop point(s). Up to 
four may be shown simultaneously - the top one is LOOP 1 , the second one down is LOOP 2, 
the next one down LOOP3 and the bottom one is LOOP 4. I.e: 



LOOP1 LOOP2 LOOP3 LOOP4 




EHS1 trim wiiiia isiiiasi mm rentm n=a iron 



The loop points cannot be edited in the TRIM page but these will give you a clearer indication 
of where you are when setting start and end points for trimming. If you move the start or end 
points into a loop, you will see this screen: 



TRIM e dit-Hode :MQHQ 
starts ^KB5B3 end: 



STRINGS C4 
34111 



73*F 




i i 



warning 



i i 



START in active loop zone 



A similar screen would be shown if you were to move the end point into a loop. The warning will 
be shown temporarily and you should move the start (or end) point out of the loop. 



Once you have set the start and end points, press F8 - 1 CUT I - to discard the unwanted audio 
either side of the start and end point. You will receive this screen display: 



TRIM edit-node:M0H0 
start: 1700 end: 



STRINGS C4 



73*F 




I55TF1 FF5CF1 mm fE^TTl 



S3200XL Operator's Manual - Version 1.00 



Page 133 



EDIT SAMPLE 



The four cut options are: 



Esm 



eud 



EoTF! 



This will take you out of the CUT screen and return you to the normal TRIM 
page. Use this if you change your mind when trimming. 

This will discard audio before the start point and after the end point you have 
set manually. You will note that if the start or end points are within an active 
loop zone, the CUT action will be ignored. 

This will automatically cut audio to a few sample points before the start of the 
first loop and a few sample points after the end of the last loop irrespective of 
where you may have manually set the start and end points on the TRIM page. 
Usually, most people use only one loop and so audio will be discarded just 
before the start and just after the end of that loop. In the case where more than 
one loop is used, the S3200XL will automatically work out where the end of 
the last loop is and where the cut will be made. 



i This area retained , 




These areas discarded 



EK0 



This may be used when editing sounds that don't have a definite attack. For 
example, when sampling detuned synth waveforms, you only really need the 
loop portion in the middle of the sample so audio either side of that can be 
discarded. Similarly, when sampling single cycle synth waveforms, you can 
free a lot of space by discarding audio either side of the loop points. 

This will discard sample data before the start point you have set manually and 
after the end of the last active loop. 



This area retained 




These areas discarded 



This option should be used when editing sounds that have a pronounced 
attack which you don't wish to lose but where there is audio data after the loop 
points which is unnecessary and which can be discarded. 



NOTE: This is a destructive process and, unless you have saved this sample to disk, pressing 
any of the CUT options here will irrevocably erase the data either side of the start and end 
points. 



Whilst it is possible to edit by ear with very good precision, it is sometim es des irable to see what 
you are doing. It is possible to zoom in on the waveform using the CZHD key. Repeatedly 
pressing this will enlarge the waveform display until you are looking at individual samples that 
are an inch wide! The display centres around the start point. Of course, now you can't see the 
end point so press the M— — JH key to switch between the start and end points for editing. 



Page 134 



S3200XL Operator's Manual - Version 1.00 



EDIT SAMPLE 



NOTE: To cut or not to cut, that is the question!! 



Whether you trim your samples and loop them afterwards or loop your samples and trim them 
afterwards is a matter for you to decide. Our programmers have found in their experience, that 
it is best to record the sample, loop it and then trim it afterwards. Of course, if there is 'dead 
space' either side of the sample, these should be removed before looping but it is felt that 
looping first and trimming later is safest. 



S3200XL Operator's Manual - Version 1.00 



Page 135 



EDIT SAMPLE 



LOOPING 

Looping is one of the trickiest areas of sampling but not impossible and the S3200XL makes it 
as easy as it can with some functions to help you make good loops. 

In either the SLCT page or the TRIM page, press the HUBS key to access the looping page. 
Again, you will see a display of the sample's waveform in the left part of the display together 
with a magnified di splay o f the point where the loop rejoins the original sample sound. You can 
use the I l-IN I and 1ZQUI1 keys to zoom in or out of this window, but the display of the whole 
sample remains at a constant magnification. 



ffiUHfl tine: OFF nS STRING C4 73":F 

at: 129408 lng: 1353.000 Xf: 




The parameters are: 
HIES: 



Here you can select which loop you wish to set. The S3200XL can have four 
loops for every sample. This may seem excessive but it can help to overcome 
the repetitiveness of some loops. You may select from 1 to 4 here. 



NOTES ON USING MULTIPLE LOOPS: Whilst a sample may have multiple loops in it, 
there is one restriction you should be aware of and that is that they must be consecutive. That 
is, LOOP 1 must be followed by LOOP 2 , LOOP 3 and LOOP 4. You cannot have a situation 
where LOOP 2 is before LOOP 1 or LOOP 4 before LOOP 3 or LOOP 2. If you do set up such 
loops, certain ones will be ignored. For example, setting LOOP 3 before LOOPs 1 and 2 will 
cause LOOP 3 to be ignored. Please bear this in mind if you are creating multiple loops. 



tine: 



This sets the length of the loop you wish to make. This is expressed in 
milliseconds. You can set a loop to last from 1mS to 9998mS. This is most 
useful when you have multiple loops. For example, LOOP 1 may be set to last 
for 5 seconds (5000mS), LOOP 2 for 1 second (1000mS) and LOOP 3 for 3 
seconds (3000mS). 

If you set 9999mS, this field changes to HOLD and when this is set, the loop 
will last as long as you hold a note. 

You may combine timed and held loops as you like. LOOP 1 may be set to last 
1000mS, LOOP 2 set to last 200mS and LOOP 3 set to HOLD. When you play 
a note, regardless of where you are on the keyboard, the sound will play 
through LOOPS 1 and 2 over the time set and then move onto LOOP 3 which 
will sustain for as long as hold the note(s). This is a good way to breathe more 
life into a sample - single loops can sometimes sound repetitive if they are too 
obvious. 

A loop will repeat for the greatest whole number of times possible within the 
loop time set here. For instance, if the total loop time is set to 250mS and the 
length of the loop is actually 175mS, the loop will only repeat once, not 1.428 
times. This can save you a lot of calculation when you've set the loop length 
and you want a particular 'stutter' effect or repeated drum beat. 

For the most part, you will probably find that one loop is sufficient for most 
sounds so don't worry about setting multiple loops for every sound - you don't 
have to use them. 



Page 136 



S3200XL Operator's Manual - Version 1.00 



EDIT SAMPLE 



NOTE: The easiest way to set HOLD is to type in 9999 - this will select HOLD. 



The name of the currently selected sample is shown next which can be 
changed if you wish. The memory percentage indicator is also shown. Below 
this line are the fields for setting the loop points. 



BM3:Q tine: HOLD r-iS STRING C4 73":F 
at: 129403 lngj 1353.000 Xf: 




LENGTH 



at: 



lng: 



Here you can select the point at which looping will begin. I.e. when playback 
reaches this point, it will go back to the point determined by the lng: fj e ld 
described below and will loop either for as long as the time: field is set or for as 
long as you hold the note(s) if HOLD is selected in the time: field. 

The actual length of the looped portion (as opposed to the length of time that 
the loop will repeat) is set in this field. 



As you adjust these parameters, you will see two vertical lines move in the left part of the 
display, showing the position of the start and end points of the loop. You will note that this 
value is locked to the at: point - if you adjust the at: point, this parameter will also change. This 
is invaluable in cases where you have found a good loop length and want to reposition it 
elsewhere. 

The length field is adjustable in very fine steps to allow you to manually set very accurate loops. 

In the right half of the display you will see another waveform display. This is the point of the 
loop (i.e. the point set by the lng: parameter). As you change loop length or adjust the at: 
position, this are a will d ispla y the w aveform. The idea is to match these up as well as possible. 
You may use the I ZIB I and IZQUIl keys to zoom in or out of this display for greater accuracy. 

LOOP AUTO FI ND AN D CROSSFADE LOOPING 

The IFINDI and Ifl-FDI keys are there to help you in your search for the perfect loop. The IFINDI 
key looks for points of equal amplitude. Repeated pressing of this will mak e the S3200XL try 
and try again and you must judge if the loop is acceptable or not. The Ifl-FDI key is invaluable in 
creating loops. What this function does is to crossfade a portion of the sound before and after 
the loop according to the time set in the Xf : field next to the lng: fj e ld. This will smooth out any 
glitches you may have. This can be very effective in getting almost perfect loops. FIND and 
CROSSFADE functions are both non-realtime editing functions and may take a few seconds or 
more to calculate, depending on the length of the sample. 



S3200XL Operator's Manual - Version 1.00 



Page 137 



EDIT SAMPLE 



NOTE: The FIND function does not work when looping stereo samples - this is because each 
side would have a different loop point and so go out of phase. It will only look for the best loop 
point on the currently shown sample. 



NOTE: The crossfade function is destructive and will affect your sample 
permanently. Be sure to have saved your work before performing a crossfade 
in case you don't like the results or you make a mistake. 



Page 138 S3200XL Operator's Manual - Version 1.00 



EDIT SAMPLE 



MAKING A GOOD LOOP 

Making a loop is one of the trickiest things in sampling. The trick is to match two points in the 
sample that are similar in level and tone. For example, this would not make a good loop: 



Ig^B^^ 



You have selected a high amplitude point in the sample and set a length that loops around a 
very quiet part. All manner of thumps and clicks would be heard and the loop would look 
something like this when played: 




In this case, the window to the right of the loop page would look something like this: 




You can see the abrupt level change. Setting these loop points may sound better however. 



ItfttlfcjJU 



and the resulting sound when played would look like this 




This is also a longer loop and so won't sound quite so obvious when held. The window to the 
right of the loop page would look something like this: 




You can see a nice smooth transition. 

Of course, there may well still be some glitches but this can be overcome using the crossfade 
key. Pressing that in this case may create something like the following: 




Here, the crossfade function has smoothed the whole thing out to create a more uniform 
amplitude. 



S3200XL Operator's Manual - Version 1.00 



Page 139 



EDIT SAMPLE 



NOTE: Sometimes when crossfading, because part of the area chosen for crossfade may be 
slightly out of phase with the loop area, you may sometimes get a dip in level where they cancel 
each other out. This is not a fault of the S3200XL but something that cannot be avoided. 



Using IFINDI and IH-FDI are probably your be st allies in looping. IFINDI will automatically look for 
good points of equal amplitude whilst Ifl-FDI will 'smudge' the whole thing to eliminate glitches, 
thumps and any other unpleasantness. Long samples work best with long crossfades whilst 
short loops are better suited to having short crossfades. Perfect results are not always possible 
but you'll be surprised at how easy looping can be on the S3200XL. 

If your sample has just one single loop such as: 



JktfMitaJ^U 



you can go to the trim page and remove the bit of audio after the loop as this will not be played. 
This can save a lot of memory space. 



Page 140 S3200XL Operator's Manual - Version 1.00 



EDIT SAMPLE 



LEVEL NO RMAL ISATION 

Pressing \SSSS\ in either the TRIM, LOOP or SLCT pages will display this screen: 



saamsasmiaasB 



to: HEU SAMPLE 
rescale ualue: +00dB MONO 73^F 




ehsi B3ss\ hseh norm 



EEEDEM 



Here you may set new levels for the selected sample and also normalise it. 

Normalising is a technique where the sampler will analyse the loudest part of a signal and then 
adjust the whole sound to be at its optimum level - i.e. the loudest part of the signal is at the 
unit's maximum level before distortion and the rest of the sound is brought up in level 
proportionately. This increases signal to noise ratio and dynamic range. It also allows you to 
compensate for recordings made at too low a level. This page also allows you to set your own 
level for gain re-scaling if you wish. You may process in mono or stereo (although selecting 
stereo is pretty pointless if it's a mono sample!) 



To normalise a sound, simply press IHQRMI. If you have not named a new sample for the 
normalised version to be copied to, you will receive the prompt: 

| overwrite existing sample? GQ ABORT | 

to which you must respond accordingly by pressing GO or ABORT. After a 'BUSY' message, 
the new sample will be displayed showing the new level. 

To re-scale a sample to a level of your own c hoosin g, simply move the cursor to the 
rescale ualue: field, enter a value and press ESELL Again, you will receive the usual 
prompts if you haven't created a new sample to copy to and after a few seconds, you will see 
the sample scaled to the value you set. 

NOTE 1: Please be careful when using RESCALE because it is possible to overload the unit 
if you set this value too high. 

NOTE 2: Please also note that whilst normalise and rescale can save the day on many 
occasions when you have recorded a sample at too low a level, it can increase noise levels. For 
example, if the sample is very quiet, as you boost the level, you will also boost the noise floor. 
Setting, for example, a rescale value of + 15dB to bring the level up to maximum will also boost 
the noise level by 15dB. Please bear this in mind when using these functions. 



S3200XL Operator's Manual - Version 1.00 



Page 141 



EDIT SAMPLE 



DSP FUNCTIONS - TIMESTRETCH, RE-SAMPLING AND EQ 

The S 3200XL has three powerful digital signal processing (DSP) functions which are accessed 
via the UESiM key in the main SLCT page. 

TIMESTRETCH 

Timestretch allows you to alter the length of a sample, shortening it or lengthening it, without 
changing its pitch. Before we look at how to operate the timestretch functions on the 
S3200XL, let us first look briefly at how timestretch works. 

Timestretch works by instructing the digital signal processor to analyse the signal and insert or 
delete blocks of sample data at appropriate places and crossfades are used to make the 
insertions and deletions as seamless as possible. This has the effect of lengthening or 
shortening a recording. As you can see from the following diagram, blocks of sample data have 
been inserted to create a 200% timestretch. The overall envelope of the sound data is 
preserved but there is twice as much data in it causing it to play back twice as slow. 

SAMPLE DATA BLOCKS 




ORIGINAL RECORDING 



WITH 200% TIMESTRETCH 

In the following diagram, data has been carefully removed to make the recording play back 
faster. 




ORIGINAL RECORDING 




70% TIMESTRETCH 

You can see that the length in both of these examples changes quite drastically but the 
envelope remains pretty much the same, thereby ensuring the integrity of the sound. The 
timestretch on the S3200XL works by making a copy of the original. It is necessary to make a 
copy for two reasons - firstly, the S3200XL needs the original data to get the data to insert. 
Secondly, in the event of a stretch going wrong, you still have the original to revert to. 
Unfortunately, however, perfect results using timestretch are sometimes difficult to achieve. It 
is not a limitation of software or hardware but due to the fact that, although the processor is 
clever, it is not that clever and can sometimes make mistakes in deciding which sample to 
insert or remove. The end result of this is that, on occasions, especially with stretch factors 



Page 142 



S3200XL Operator's Manual - Version 1.00 



EDIT SAMPLE 



exceeding 10% or so, you may get an echo or 'flam' effect on some transients because the 
processor has inserted a transient. When shrinking a recording, you may find a transient 
softened because the processor has decided to remove it. You will find this to be the case 
more or less on all devices that feature some form of time compression or expansion. 

A lot of these problems depend on the nature of the audio material being processed and 
settings that process the spoken word perfectly could make a right mess of a percussive dance 
track. The converse is also true. The biggest problem is in material that has a healthy balance of 
low and high frequencies because different timestretch parameters are required to process 
different frequency ranges - in audio material that has a wide frequency composition there is 
much adjustment to be done to obtain the correct compromise so that both frequency ranges 
are adversely affected as little as possible. Please be aware that, on occasions, you may never 
get absolutely perfect results and there may be occasional side effects, especially with 
extreme settings of stretch - of course, these side effects can be put to good use for the 
creation of special effects!! Over smaller ranges, however, you will find the timestretch on the 
S3200XL yields excellent results and will become an invaluable tool in your work, whatever 
application you are working in. 

You could use timestretch to alter the length of a drumloop or breakbeat without altering the 
pitch in order for it to fit in with the rest of the track or you could use it to speed up or slow down 
a track to change the 'groove' or feel. You could even use the timestretch to overcome timing 
discrepancies of a 'live' band or use it to create gradual tempo changes, etc.. It can be used to 
change the length of, say, a backing vocal part or guitar solo so that it can be played back at a 
different pitch and so accommodate key changes. You could use it to maintain the same 
vibrato speed for a number of 'multi-samples' created from one original sample. There are many 
possibilities which you will no doubt discover for yourself. 

Let us now examine how to operate the Timestretch function on the S3200XL. Pressing 
I will give this screen: 



ITIME-STRETCHI 


sample: feHrllikKH 73*F 


stretch zone: 


to: 12S 


Cycle length: 


1000 total: 220512 7* 


tine factor: 


100^ norn. tine= 5.00sec 


stretch node: 


CYCLIC qual: 10 width: 10 


new sanple: 


STRING C4 exists! Sanp* 


HVHI TINE ISfclMBamiautCIIZONEII GO I IPLRYI 



This enables you to lengthen or shorten a sample or a selected part of a sample from 25% of its 
original length to 2000% (twenty times) without changing its pitch. 

Two modes are available for stretching: CYCLIC, in which a fixed interpolation rate is maintained 
throughout the whole of the sample (suitable for individual instrument samples), and INTELL, 
in which the S3200XL "intelligently" varies the interpolation rate according to the sample 
content (suitable for speech and music). 

As usual, you may select the sample to be edited at the top of the page. The parameters on 
this page are: 



stretch zone: 



Here you may set two values to set the start and end of the area of the 
chosen sample you wish to stretch. You may only want to stretch one 
part of the sample so it should be set here. The first field sets the start 
point of the stretched area and the to: field sets the end. You may 
audition the area you have set using the EUHE1 key (F6). 



Cycle length: 



Here you can set the cycle length (in samples). The soft key lautCI can 
be used to help you find the right sample length. As with autolooping, 



S3200XL Operator's Manual - Version 1.00 



Page 143 



EDIT SAMPLE 



the S3200XL applies software logic to the sample to calculate what it 
believes is the right answer but, like autolooping, whilst the S3200XL 
will often help you, it is not always infallible. The Cycle length: 
function only applies to the CYCLIC mode of timestretch. 

tine factor: This sets the percentage by which the sample will be stretched or 

shrunk. The range is 25% to 2000% (although we are the first to admit 
that such extremes are only going find favour with the truly mad!). As 
this parameter is adjusted, you will see the length of the sample 
changing in the adjacent norn. tine= field and in the total: field 
above that. 

stretch node: As mentioned, there are two ways in which you can stretch a sample 

and this is selected here. CYCLIC uses a fixed cycle time at which the 
S3200XL will stretch. When INTELL is selected here, the S3200XL 
makes its own decisions as it proceeds with the stretching process. 
Be warned, though! Although the intelligent mode will produce better 
results, the time taken for this operation is much longer than when the 
CYCLIC mode (up to several minutes depending on the length of the 
sample and the amount of stretch). 

Remember that to perform any of these operations, you will need to 
have enough free memory. 

qual: This sets a level of intelligence for the S3200XL to work with when 

performing an intelligent timestretch. It sets the number of decisions it 
will make as it works its way through the sample. With lower values set 
here, it will not make so many examinations of the sound. With higher 
settings, it will examine the sound in great detail and so produce 
better results although this will take longer. This control only has a 
function when INTELL is selected. 

width: This sets a crossfade between the original and the inserted data. It is 

recommended that when low qual: values are set, this should be set 
high and vice versa. This control only has a function when INTELL is 
selected. 



Page 144 S3200XL Operator's Manual - Version 1.00 



EDIT SAMPLE 



PERFORMING A TIMESTRETCH 

Set the parameters as described above - if you are stretching complex samples such as 
breakbeats, backing tracks, drumloops, voice over, backing vocals, etc., use the INTELL mode 
of operation. For stretching individual instrumental samples, maybe CYCLIC will be o.k.. 

First set the zone you want to stretch in the stretch stretch zone: and to: fields. If you want 
to stretch the whole sample (which is the usual application), this field will be set as soon as you 
select the sample. 

If you are using CYCLIC mode, then set a cycle length (or use the lautCI key). If you are using 
the INTELL mode, set the qual: and width: as you think necessary (remembering that high 
qual: values will take m ore time). Now set the tine factor: parameter, name the new 
sample and press I SU I. 

If you haven't created a new sample, you will receive this prompt: 

| can't replace source sanple | 

In this case, please name a new sample or select a sample you know you have no further use 
for as the destination sample. 

Whilst the timestretch is processing, you will receive the following display: 

| **** BUSY - PLEASE UflIT **** "| 

Depending on the mode you selected and the settings of the parameters, you may have to 
wait a while (several minutes in the case of long INTELL stretches). You can abort the 
procedure by pressing F8 a few times. You will see the display counts down in percentage the 
time remaining for the process. 

When the processing is fin ished, you can play back the original from the ENT/PLAY key or the 
stretched version from the IFLRYI key. If you are happy with the sound of the stretched sample, 
you can proceed to edit, trim and loop it, just as if it was a freshly-recorded sample. 



S3200XL Operator's Manual - Version 1.00 Page 145 



EDIT SAMPLE 



RE-SAMPLING 

The re-sampling page (called RATE on the soft key because we didn't have enough room!) 
allows you to re-sample your sounds at different sampling rates. This is to allow you to sample 
at anything other than 44.1kHz and 22.050kHz and to save memory. High sampling rates and 
bandwidths are all well and good but if the sound doesn't have a high harmonic content, what's 
the point of wasting valuable memory? For example, you would be justified in using a high 
sampling rate for cymbals and hi-hats with their high harmonic content but for bass drums, 
toms, amplified electric guitars and the like whose frequencies may not extend beyond 10kHz, 
it seems pointless. Of course, this kind of sound can be set to be recorded at 10kHz in the 
SAMPLE pages but what if the sound needs a bandwidth of 12 or 14kHz? This is where the re- 
sampling or RATE page comes in. 

Pressing I3S113 in the DSP pages calls up this screen: 



73*F 



H^SE HMa sample: HJSCMgM 

present sample rate: 44100 Hz 

new sample rate: 22050 Hz qual: 1 
new length: 110256 = 4 a K 

tune offset:-12.00 semi.cent 

new samp le: S TRING C4 exist s! Samp* 

BlBi JEIIl RATE EM E32S r^TTI H^iTl IFDT71 



As usual, the sample name and free memory are displayed on the top line. 

present sample rate: This shows the selected sample's sample rate. This field is not 

accessible. 



new sample rate: 



qual: 



This allows you to set the sample rate of the new sample you wish 
to create. This is variable between 22050Hz (22.050kHz) and 
65000Hz (65kHz). There may seem little point in re-sampling 
upwards but it might come in useful if you need to transfer a 
sample via a sample editor to a sampler that uses a higher sample 
rate. The default for this field is 22050 (half bandwidth) but can be 
set as you like. This field also works in conjunction with the E3ZB 
and I 2/Z I which enter three quarters and two thirds the sample's 
original sample rate. 

This allows you set the quality of the re-sample. Higher quality 
values will analyse the signal more closely thereby producing 
better results. Higher quality re-sampling does take longer, 
however. 



new length: 



This shows the length of the new sample. As usual, as in all pages 
of EDIT SAMPLE, you may view this in milliseconds by pressing 
the RATE key again. 



tune offset: 



This shows the new tuning. When sounds are re-sampled, they 
must adopt a new tuning. This is because, when you re-sample at, 
say, half bandwidth, you take out half the data making it play at 
twice the pitch so it is necessary to offset the tuning. This is done 
automatically for you and this field is not accessible. 



Page 146 



S3200XL Operator's Manual - Version 1.00 



EDIT SAMPLE 



PERFORMING A RE-SAMPLE 

First, create a new sample - re-sampling is a copy process and so you have to create a new 
sample by pressing NAME, entering a new name and pressi ng ENT If you wish to use either of 
the two preset sampling rates, simply press either I 5/4 1 or I 2/Z I - this will re-sample the 
original to three quarters or two thirds the original fr equenc y. Alternatively, set a value of your 
choosing in the new sample rate: field and press I GO I 

If you have not named the new sample you will receive the prompt: 

| can't replace source sanple | 

You should input a unique name. During the re-sampling process (which is very quick but does 
depend on the length of the sample) you will receive the message: 

| **** BUSY - PLEASE UflIT **** | 

When the process is complete, you can play the new sample you ha ve cre ated by pressing the 
IFLRYI key (F8) and you can make very fast comparisons by pressing IFLOYI and the ENT/PLAY 
key alternatively. 

You can use the re-sampling facility to save on memory. In the studio where you have time to 
load in new sounds this may not be so crucial but on-stage, you ideally need to cram as much 
into the S3200XL as possible. Even with 32 Megabytes of RAM installed, there will be 
occasions where you need to squeeze that little bit more out of the samplers internal memory. 
In this respect, the re-sampling functions are ideal. In fact, given that listening conditions at a 
gig are nowhere near as critical as in the studio, you could afford to make special 'gig disks' 
where the bandwidth is more limited than it could be to save even more space in your memory. 



S3200XL Operator's Manual - Version 1.00 Page 147 



EDIT SAMPLE 



EQ 



The S3200XL is also equipped with an EQ (equ alisatio n) DSP function. This allows you to add 
EQ, affecting the tone of the sample. Pressing W3EM in any of the DSP pages will give this 
screen display: 



133 :3 CHS 1 to: HEU SAMPLE 73::F 


+24 
00- 
-24 












Mode: M0H0 
Cury:Lou Shelf 
Freq:440Hz 
Gain:+00dB 












20 100 500 2K 10kHz 

EHS1 QBa HSH EQ 


Uol:+00dE 
rEFniFTTiTl 



In the EQ, you may select from four different EQ types and apply cut and boost of gain at 
specific frequencies. The EQ is only one band but you may EQ samples that you have already 
processed to have an almost unlimited amount of frequency bands! 

The fields on this page are: 



Mode: 



Curu: 



Here you may select whether you will edit in mono or, with stereo samples, in 
stereo. When EQ'ing stereo samples, you can select MONO and EQ each 
side separately if you wish. 

This selects the EQ response curve. You may select LOW SHELF. This offers 
the following response slope: 



FREQ 




/ 



A frequency range below the EQ frequency setting can be cut or boosted. 
This is good for adding or removing bass end components in a sound. 

The next selection is BAND WIDE: 



FREQ 

/ 




A wide band either side of the EQ frequency can be cut or boosted. This 
selection is useful for gently accentuating or removing certain frequencies in 
the sound. It would be useful to add some mid range frequencies to a snare 
sound, for example. The next selection, BAND THIN is well suited for 
removing specific frequencies but the wider frequency response of BAND 
WIDE makes the EQ effect slightly broader. 



Page 148 



S3200XL Operator's Manual - Version 1.00 



EDIT SAMPLE 



The next selection is BAND THIN: 




Similar to BAND WIDE described above, BAND THIN has a narrower 'bell' and 
so will accentuate or remove a tighter band of frequencies. This selection is 
useful for picking out a specific frequency in the sound (adding mid-range 
'crack' to a snare, for example) or for removing a tight band of frequencies (i.e. 
cutting back some mains hum in a sample or removing some top end noise). 

The next selection is HI SHELF: 



FREQ 




This allows you to cut or boost high frequencies above the EQ's frequency 
control. This is good for adding or removing some top end in a sound. 

Freq: This sets the frequency of the EQ. The effect it has depends on the setting in 

the Curu: field. With LOW or HI SHELF selected, it sets the point below or 
above which the cut or boost will take effect. With either of the band EQ types 
selected, it sets the centre frequency. 

Gain: This sets the cut or boost for the selected frequency. The range is +/-24dB 

(OOdB being no cut or boost, of course). 

Uol : To compensate for extreme gain settings, the Uol : control allows you adjust 

the sample's overall volume after the EQ effect is applied. It is especially useful 
when high gain boosting has been set as it is quite likely the sample will distort. 
In this case, turn the Uol : control down accordingly (i.e. if you set a gain boost 
of +24dB, set a volume cut of -24dB to compensate). When cutting 
frequencies, you may like to use the Uol : control to boost overall level slightly 
(although this may also be accomplished by re-normalising the sound). 



S3200XL Operator's Manual - Version 1.00 Page 149 



EDIT SAMPLE 



EQ'ING A SAMPLE 

Select the sound you want to EQ. The EQ process must always make a copy of the source 
sample so press NAME and enter a suitable name for the copy. Press ENT/PLAY to complete 
the naming process. Now set the parameters as you think fit. As you adjust the controls, you 
will see the 'shape' of the EQ on the screen: I.e. 



139 

+24 

00 
-24 


3H | to: HEU SAMPLE 73::F 


1 










Mode: MONO 
Curu:Low Shelf 
Freq:440Hz 
Gain:+12dB 
















20 100 500 2K 10kHz 

BIS] EDS9 ESDI eq 


Uol:+00dB 
rETniFTTiTl 



Once you think you have set something suitable, press I SU I to start the EQ process. If you 
didn't set a new name, you will see the message: 



| can't replace source sanple" 



] 



In this case, create a new sample name. 

Assuming you have named the sample, you will see the following message as the sample is 
being processed: 



| **** BUSY - PLEASE UP.IT **** 



] 



Once the processing is complete, you can audition the results of the EQ using the IFLRYI key 
on F8. You can play the original sample using the ENT/PLAY key and this allows you to 'A/B' 
between the original sample and the processed sample. If the sound is not to your liking, set 
the controls differently and try again, overwriting the EQ'd sample you just made. 

If the Gain: parameter was set fairly high but you did not compensate for this with the Uol : 
control, you may get the message: 



| Uarning - sample clipped during EG! 
In which case, back the Uol : control off a bit and try again. 



] 



USING THE EQ 

The EQ process is very useful for affecting the sound at source. As mentioned, it can be used 
very effectively for removing mains hum or other noises that may have crept into the recording. 
You can use it creatively to accentuate certain elements of the sound as well - you could add 
more weight to cellos and basses and the like by boosting some low frequencies using the 
LOW SHELF selection or you could add top end to strings, brass, etc., using the HI SHELF 
selection. Mid ranges can be boosted or cut using the BAND WIDE and BAND THIN selection. 
BAND WIDE is best suited for adding gentle boost or cut to a sound whereas BAND THIN is 
better at homing in on specific, tight frequency ranges. 

If you need to EQ more than one frequency, select the source sample and set the EQ for that 
and process it. When that's done, select the EQ'd sample as the source sample, set the next 
frequency you want. Repeat the process again on the second EQ'd sample. 



Page 150 



S3200XL Operator's Manual - Version 1.00 



EDIT SAMPLE 



FURTH ER E DITING FUNCTIONS 

The WS33 key in the SLCT page gives access to further editing functions such as sectional 
editing, splicing and joining samples together, reverse and fade up/down. 

THE PARAMETER PAGE 

Thefir st page we see is the PARAMETERS page (the first one you access when you press the 
\M33 key) and looks like this: 



H£«mg^ of sample: fcH:«8«iEI 



73*F 



original pitch: C_4 

Pitch offset:+QQ.QQ ^seni.cenO 
type of playback: LOOP IN RELEASE 
loop tune offset: +QQ cent s CHOLD only} 
BISl PfiRfi BlSi fSHSl SMM Reverse - fT?PJ1 



On the top line is the name of the sample you want to edit. As usual, this may be changed with 
the DATA control. The parameters on this page are as follows: 



original pitch: 



pitch offset: 



type of playback: 



This allows you to alter the original pitch at which the sample was 
recorded, so that when you replay it on the keyboard, it will play at the 
correct pitch. You will note that the ENT/PLAY key which normally 
plays a sound at a pitch set in the MIDI TRAN(smit) page, plays the 
sample at its correct pitch (i.e. the pitch it was sampled at) when you 
are in EDIT SAMPLE. 

Further fine tuning (in semitones and cents over a range of ±50 
semitones) is possible here. 

This parameter determines the way in which the sample will be played 
back. There are four options available here. 

The first is LOOP IN RELEASE. This means that when a key is 
pressed, the sample will play through all the loops until the first HOLD 
loop is reached. When the key is released, the HOLD loop will 
continue to play as the release falls away. This is always selected when 
you make a sample. 

LOOP UNTIL RELEASE is slightly different. Again, the sample will 
play, with all loops, until the first HOLD loop is reached. However, 
when the key is released, the loop will end, and the remaining portion 
of the sample (if any) will be played. This is a useful setting for sounds 
which have a definite attack, an indefinite sustain period (set with the 
loop), and a definite release characteristic. For example, if you have a 
double bass sample that has an interesting and realistic finger squeak 
at the end, this type of loop may be appropriate. 

NO LOOPING does what its name suggests - it plays the sample 
through without loops for as long as the key is held down. If the 
sound is not long enough, it will finish even though you are holding 
down a note. If the sample is still sounding, as soon as the key is 
released, the sound will start to decay. 

PLAY TO SAMPLE END is useful for triggering sampled drums either 
from a keyboard or sequencer or by drum trigger units such as the 
ME35T and the like. Like the previous setting, no loops are played, 
but an instantaneous trigger signal or key press will play the whole of 



S3200XL Operator's Manual - Version 1.00 



Page 151 



EDIT SAMPLE 



the sample (the key does not have to be held down for the whole 
length of the sample). 

loop tune offset: This allows you set a pitch shift of up to ±50 cents (one semitone) for a 

HOLD loop. This function is useful when you have a small, short, 
single cycle loop that has latched onto some strange, discordant 
aspect of the sound and is slightly out of tune with the rest of it. 



Page 152 S3200XL Operator's Manual - Version 1.00 



EDIT SAMPLE 



REVERSING SAMPLES 

In the PARAMETERS page, when the I REM I soft key (F8) is pressed, the sample will be 
reversed. Pressing it again will reverse the sample back to its original form. Note that any loop 
points you have set will stay in the same absolute positions, and will not be reversed with the 
sample. 



S3200XL Operator's Manual - Version 1.00 Page 153 



EDIT SAMPLE 



SECTIONA L EDI TING 

Pressing E339I will take you to this screen: 



SMsnaa bmmbo to: shares i 

start: 1700 end: 34011 MONO 73*F 




AAiA A 

ehsi 0339 sect Ham mm Enun h=s eeed 



This is the SECTIONAL editing page and shows a typical drum riff, something for which the 
sectional editing functions are ideally suited for editing. Whereas TRIM allows you to remove 
audio data either side of the start and end points, these functions allow you to remove data 
within the start and end points. This can be used, for example, to remove one single snare 
beat from a drumloop sample or, in a vocal line, could be used to remove a mistake or a cough. 
You may extract such pieces of audio in several ways. You may extract it and leave the gap it 
creates or may extract it and close the gap it creates. You may overwrite the existing sample or 
you may extract the section to another new sample, keeping the original sample intact. There 
are many uses for these functions and you will no doubt find your own. 

As in TRIM, across the top of the waveform display, you can see any loops that have been set 
(in this example, no loops ar e set) . To c reate a sectional edit, set the start and end poi nts as 
appropriate. You may use the I ZIB I and 1ZQUI1 to zoom in or out on the sample and the HEE3 
key toggles between the start and end of the sample. As you set the start and end points, you 
will receive a screen display such as: 



SMsnaa bmmbo 

start: 21700 end: 



to: SHARES 1 
23011 MONO 73*F 




MB5i Hssa sect fsna mm \znnn H=a eeeo 



At this point, you may like to create a name for the new sample to be copied to. You don't have 
to as it is possible to overwrite a sample with the edited version but, if you want to be safe, it's 
probab ly best to make a copy, assuming you have enough available memory. Now press 

You will receive this screen: 



mssm BMMBO 

start: 21700 end: 



to: SHARES 1 
23011 MONO 73*F 




Select: ICHOFl ITDTI IEKTK1 fexTEl 



Here you are presented with four choices. These offer three distinctly different edits 
depending on what it is you want to achieve. They are: 



HS3 



This will exit this screen and return you to the main SECTIONAL edit screen 
without having any effect on the sample. 



Page 154 



S3200XL Operator's Manual - Version 1.00 



EDIT SAMPLE 



IEKTE1 



xnn 



innnpi 



This is an 'extract' function that will remove the isolated area and copy it across 
to the new sample. I.e: 



E&tm wmmau to: share* 1 

start: end: 1311 MONO 73*F 


m 








isi Hssa sect egie] mm esllti h=s eeed 



This is particularly useful for isolating such things as single snare or bass drums 
from a pattern although any sound could be 'lifted' in this way. 

This allows you cut the section you have marked and keep the gap thus 
created. I.e: 



SMsnaa bmmbo 

start: 21700 end: 



to: DRUMRIFF ED 
34011 MONO 73*F 




EHS1 0339 sect HHE1 mm EQELT1 H=3 EEED 



This is good for removing offending noises from a track where the rhythm or 
pace should be retained. For example, in a vocal line where the singer 
accidentally knocked the mic stand or sneezed! 

This will remove the selected area and close the gap thus created. I.e.: 



fcMMMll BMMBO 

start: 21700 end: 



to: DRUMRIFF ED 
32011 MONO 73*F 




EHS1 0339 sect HHE1 mm [ZQDH H=3 EEED 



This is good where you want to remove something but the rhythm or the pace 
is not so important. 

If you do not name a new sample, you will receive the following prompt when you press EEEQ: 

| overwrite existing sanple? GQ ABORT 1 



Pressing GO will take you directly to the Select: prompt and you may IEXTRI I CUT I or ICHOPI 
as you wish. If you change your mind, press ABORT . 

Whilst the S3200XL is processing the data, you will receive a 'busy' prompt. After a few 
seconds, the new sample will be shown which may be played in the usual way. 



S3200XL Operator's Manual - Version 1.00 



Page 155 



EDIT SAMPLE 



As with TRIM, the S3200XL is very considerate and won't let you ruin good loops and if you 
move the start or end points into any loop zone (shown above the waveform) you will receive 
the warnings: 



| !! earning !! ■ .START in active loop zone | 



or 



| !! earning !! ■ ■ EHD in active loop zone | 

In this case, whatever editing action you perform will be ignored. 

As with Timestretch and Re-sampling, if you create a new sample from any of the above editing 
procedures, the original loop points will be lost and you will need to reset them. 

You may select to edit in mono or stereo accordingly. Of course, this only has relevance if the 
sample is stereo in which case you may prefer to edit the left and right channels separately. 



IMPORTANT NOTE ABOUT SETTING START AND END POINTS: The start and 
end points are temporary whilst in the sectional edit page They are not stored anywhere. If you 
leave SECT or select another sample, these will be lost and you will have to set them again. 



Page 156 S3200XL Operator's Manual - Version 1.00 



EDIT SAMPLE 



THE JOIN PAGE 

In this page, you may join two samples end to end, crossfade them and merge them. This can 
be very interestin g for c reating long, evolving sounds and big, thick orchestral and synth 
textures. Pressing BlOlil will display this screen: 



Hma fi then 


B- 


->J Free: 2326720= 


73* 






first last 


scale 


fl: STRING C4 




25620 


+00db 


B= UOICES C4 




34680 


+00db 


J: MIXTURE 




X-fade oyer: 


4350 


- new - 




spl 


nx 


EHH uciaa sssa join ansa ir->ji isplii i mix i 



The samples to be joined together are known here as A and B, and the resulting JOINed 
sample is called J. Though A and B can be the same sample, the resulting (J) sample cannot be 
the same as either A or B. Press the NAME key to enter a new sample name for the sample J. 
Existing samples can be overwritten and therefore can be used for J. 

As mentioned earlier, this page has three basic functions 

IR->JI This will copy part of a sample (A) to another (J) 



rrrm 



This will splice two samples end to end. You may also crossfade the two 
samples. 

This will mix two samples together, effectively layering them on top of each 
other. 



SPLICING SAMPLES 

Select the A and B samples using the DATA control. You must then choose a name for the J 
sample. This can either be the name of an existing, unwanted sample, or you can enter a new 
name using the NAME key followed by pressing ENT/PLAY. 

Now you should select the portions of the A and B samples which are to be combined using 
the first and last fields. For example, you may want to splice just the attack portion of 
sample A to the sustain portion of sample B, or mix just parts of two samples together. If you 
want to hear exactly what part of a sample you are going to use, you can set the first and last 
points of A, and then press IR — >JI - this will copy sample A into sample J without sample B so 
that you audition it in isolation using the ENT/PLAY key (you can overwrite J later, of course, so 
you've done no permanent damage to A if you get things wrong). 

Notice how the figures at the bottom alter as the lengths of samples A and B are changed. The 
figure before the spl (splice) field is the total length of the selected portions of the two 
samples (minus the X-fade length - see below), and the figure before the nx (mix) field is the 
length of the longest sample portion to be included. 

You may set the respective levels of each of the samples A and B using the scale parameters 
but be careful you don't overload the system by setting too high a level. 



Once you've set everything, press IEELU. If sample J already contains data, you will be asked if 
you want to overwrite it (you should press GO or ABORT as necessary). After a few seconds 
(depending on the length of the samples), you can hear the fruits of your labours by pressing 
the ENT/PLAY key. 



S3200XL Operator's Manual - Version 1.00 



Page 157 



EDIT SAMPLE 



CROSSFADING 

To avoid a sharp break in sounds when you splice them together, one sound can be 
crossfaded into another. The crossfading will start before the value set in the last point of A, 
the time at which crossfading starts depending on the number of samples set in the 
X-f ade oyer: field. This field has no effect, of course, when layering samples. 

Again, you can adjust the relative volumes of A and B by up to ±25dB, using the scale 
parameters. However, if you set these too high, you may get a distorted sound, so use these 
with care (you will be prompted if the new sample distorted during the process). 

When you've set up the first and last points for both samples, press IEELU. If sample J 
already contains data, you will be asked if you want to overwrite it (you should press GO or 
ABORT as necessary). Again, the process will take a few seconds (depending on the length 
of the samples and the amount of crossfading) and when the operation is complete, you can 
listen to the new sound by pressing the ENT/PLAY key. 

MIXING AND LAYERING SAMPLES 

It is also possible to 'stack' samples on top of each other. This can be an effective way of 
layering sounds without eating into polyphony. The same principles apply as above. Select 
sample A and B and create a new sample J (or use an unwanted existing sample). You may set 
the portion you want to mix together (for example, you may want to layer the attack of one 
sound directly on top of another) and also set the levels and relative balance in the scale field 
(please be especially careful here - because you are combining two samples together, the 
levels will naturally go up. If anything, you may n eed to use the scale parameters to turn them 
down). Once you're happy with everything press I MIH I. If the J sample already exists, you will 
be prompted and you should respond accordingly and, after a few seconds, you will be able to 
play the sound from the ENT/PLAY key. 

You may repeat these techniques using the J sample as the basis for a new splice, crossfade 
or layer. For example, you could: 

Crossfade a timpani strike with a deep string orchestra. Use that sample, for example, to 
crossfade with a big vocal chorus chord and use the result of that to crossfade with a large 
orchestral finale. 

Crossfade a thick synth bass with a string pad. Use that to crossfade with a resonant filter 
sweep sound and crossfade the result of that with some strange percussion loop. 

Layer some strings on top of a piano. Use the new sample as the basis onto which you 
layer a marimba. 

Keep layering different synth string sounds on top of each other for a huge pad sound. 



NOTE 1. When mixing, splicing or crossfading samples in this way, any loops which were 
present in the original samples (A and B) will not be played back when you play back J. You 
must reset loops in J if you want them. 

NOTE 2: The samples always use their base note (i.e. the note they were sampled at) when 
employing any of these techniques. In other words, a string sound sampled at C3 and layered 
or crossfaded with a choral sound sampled at G3 would be a fifth apart. This cannot be 
corrected, even through tuning it in the MORE page. 

NOTE 3: It goes without saying that you need to have sufficient memory available to create 
these new spliced or mixed samples. You will be reminded by the prompts if you haven't! 



Though the process of creating the sound you want may take some time, it's possible you may 
discover some new sounds along the way which weren't quite what you were expecting, but 



Page 158 S3200XL Operator's Manual - Version 1.00 



EDIT SAMPLE 



could find a place in your work. The type of sounds created here can be long evolving sounds 
which may find a place in soundtrack work as they can be very dramatic. 



S3200XL Operator's Manual - Version 1.00 Page 159 



EDIT SAMPLE 



SETTING DIGITAL FADES 

It is also possible to set fades on a sample. This may seem unnecessary seeing that you may 
effectively set fades using the envelope generators in EDIT PROGRAM but it does have uses. 
Probably the one that springs to mind first is where you have a noisy drum sample. Whilst you 
could 'shape' the noise out in EDIT PROGRAM using envelope generators, it means that you 
have to do this every time you want to use this particular sample. By setting a digital fade down, 
you can affect the sound at source. 

Pressing B99§ in the MORE page will display this screen. 



IS:lfl=l Hri£l!bB£H to: HEU SAMPLE 
start: 1700 end: 34011 MONO 73*F 


E 




■ 










hh Hasa ehh hum [zeu edcd he=3 dsd 



Here we see a string sample and a start and en d time has been set (the sample's loop is shown 
above the waveform display). Pressing I SQ I will give you the usual prompts if you have not 
created a new sample to copy to. If you agree to overwriting the original sample or have created 
a new one, after a few seconds you will receive a display not unlike this one: 



IS:lfla E4ri£l!UBEH to: HEU SAMPLE 
start: 1700 end: 34011 MONO 73*F 


E 




■ 










hh Hasa ehh hum [zeu eddii ee=3 dsd 



Here, you can see the sample has fades which lead up to the points set by the start and end 
positions set above. You may play the sample from your keyboard or the ENT/PLAY key. 

If you try to set fade times that fall within any loop zone(s), you will receive the following 
warning: 

| !! warning !! ■ .START in active loop zone | 



or 

| !! warning !! ■ ■ EHD in active loop zone | 

In this case, whatever editing action you perform will be ignored. 

You may zoom in or out of the wa veform display using the I ZIH I [ZiiLLU keys (F5/F6). When 
zoomed right in, you may use the HEE3 on F7 to toggle between the start and end of the 
sample. 



IMPORTANT NOTE: One thing to remember when setting fades is that these will speed up 
and slow down as you play them across the keyboard range so, while it may seem a good idea 
at the time to set a slow legato fade up and down on a string sample, you may find it would have 
been better to have used an envelope generator so that attack and release is consistent 
across the keyboard range. 



Page 160 



S3200XL Operator's Manual - Version 1.00 



EDIT SAMPLE 



IMPORTANT NOTE ABOUT SETTING START AND END POINTS: The start and 
end points are temporary whilst in the FADE page They are not stored anywhere. If you leave 
FADE or select another sample, these will be lost and you will have to set them again. 



S3200XL Operator's Manual - Version 1.00 



Page 161 



EFFECTS 



EFFECTS MODE 

The EFFECTS key gives access to the S3200XL's internal effects. The S3200XL's effects 
processor is a 4 channel effects processor. Two channels (FX1 and FX2) offer multi effects that 
include distortion, ring modulation, EQ, modulation effects such as flanging, chorus and 
phasing, stereo pitch shift, autopanning, rotary speaker simulations plus delay/echo and 
reverb. The other two channels are reverb only channels (RV3 and RV4) giving a total of four 
reverbs. 



4-CHANNEL EFFECTS PROCESSOR 



MULTI-EFFECTS CHANNEL FX1 



DISTORTION/EQ 



MOD/DELAY EFFECTS 



REVERB (RV1) 



--DISTORTION - EQ - RING MOD 



- FLANGE 



r CHORUS 



or 



or 



PHASE 



or 



- PITCH SHIFT 



or 



l- PAN/FMOD 



DELAY 



REVERB 



MULTI-EFFECTS CHANNEL FX2 



DISTORTION/EQ 



MOD/DELAY EFFECTS 



REVERB (RV2) 



--DISTORTION - EQ - RING MOD 



CHORUS 






or 




FLANGE 






or 




PHASE 






or 




PITCH SHIFT 






or 




PAN/FMOD 







( J= DELAY 



REVERB 



REVERB ONLY CHANNEL RV3 



REVERB 



REVERB 



REVERB ONLY CHANNEL RV4 




Page 162 



S3200XL Operator's Manual - Version 1.00 



EFFECTS 



The two multi-effects channels (FX1 and FX2) are divided into three distinct sections: 
DISTORTION/EQ/RING MOD into MODULATION/DELAY into REVERB. The 'reverb only' 
channels (RV3 and RV4) only offer reverb effects. 

Single programs may be assigned to these effects channels in the SINGLE mode but the 
power of the multi-channel processing comes into its own when in MULTI mode as each part 
may be sent to different effects channels. For example, the drums could be sent to RV3 giving 
a gated reverb effect, an electric piano sound to FX1 giving EQ, chorus and reverb, an organ 
sound could be routed to FX2 to give a distorted rotary speaker effect with echo and a large 
room reverb whilst strings and brass could be routed to RV4 with a large hall reverb. Several 
parts may be routed to one channel so that programs can share the same effects and each part 
has its own individual effects send level for setting the amount of effect on each part. 
Furthermore, individual keygroups in a program may be routed to any of the four effects so 
that, for example, in a drums program, each drum may have its own reverb send level and 
reverb type selected. 



NOTE: A single program, part or keygroup cannot be sent to more than one effects channel. 



In this way, the S3200XL becomes almost a complete studio in one box and you could mix 
down a complete multi-timbral musical performance through the stereo outputs. You can also 
mix down digitally through the S3200XL's digital output to DAT or any other digital 
recorder/editor such as the Akai DR4 or DR8. 



S3200XL Operator's Manual - Version 1.00 Page 163 



EFFECTS 



ORGANISATION OF EFFECTS FILES 

There are 50 'effects' presets (i.e. combinations of distortion, EQ, ring mod, modulation/pitch 
shift/rotary speaker and delay effects) and 50 reverb files. FX1 and FX2, (the multi-effects 
channels) can use any of the 50 effects presets. The reverb sections of FX1 and FX2 (RV1 and 
RV2) and the two reverb only channels RV3 and RV4 can use any of the 50 reverb presets. 

The multi-effects presets have associated with them RV1 and RV2 and the multi-effects 
presets 1-50 'remember' which of the reverb presets have been selected for RV1 and RV2 so 
that selecting a new multi-effect preset will also recall the reverb effect selected for that 
channel. For example, if multi-effects preset #25 has reverb preset #12 selected, selecting 
multi-effect #25 on FX1 will automatically select reverb #12 for RV1 . The same would be true 
for FX2 were you to select multi-effects preset #25. You may change the reverb associated 
with an effect preset at any time but you do not need to specifically select a reverb every time 
you select an effect preset. 



EFFECTS FILE 




EFFECT 1 




REVERB 1 




RV1 














FY 1 
















i A. I 












EFFECT 50 




REVERB 50 






EFFECT 1 




REVERB 1 




RV2 
















FX2 


















EFFECT 50 




REVERB 50 




REVERB 1 




RV3 






















REVERB 50 






REVERB 1 




RV4 






















REVERB 50 





Unlike most other sound modules, the S3200XL makes no distinction between effects in 
SINGLE mode or MULTI mode. This means that effects used with sounds in SINGLE mode can 
just as easily be used the same in MULTI mode. For example, if effect preset #23 sounds good 
with a string sound in SINGLE, when in the MULTI mode, route that same string part to a 
suitable effects channel and select effect #23 for that channel. 

This makes the effects routing very flexible and any sound, whether it is in SINGLE or in MULTI 
can share this common 'pool' of effects and reverb presets. 



Page 164 



S3200XL Operator's Manual - Version 1.00 



EFFECTS 



ASSIGNING EFFECTS TO SINGLE PROGRAMS 

In the SINGLE mode, you can assign the program to one of the effects channels. The easiest 
way to do this is to use the MIX page in SINGLE: 



IBim prog no:| 


Q st-pan out -ley fx-send 


* 1 STRINGS 1 


99 MID OFF 50 FX1 23 


2 PIANO 


99 MID OFF 50 FX2 12 


3 BASS 


99 MID OFF 50 OFF 00 


4 BIG KIT 


99 MID OFF 50 RU3 45 


5 SYN BASS 


95 MID OFF 50 OFF 00 


hum m i x laiiai imua io«sa mai ishlijbi imijtei 



Here, you see a list of the programs in memory. You may route them to the effects simply by 
selecting the effects channel FX1, FX2, RV3 or RV4 in the fx column. The amount of effect 
applied to the program is set in the send column. 



NOTE: You may also select the effects channel you want the program routed to in EDIT 
PROGRAM in the OUTPUTS pages: 



OUTPUT LEUELS 



OUTPUTS 
stereo leuel: 99 
stereo pan: MID 
indiy:0FF ley: 99 
FX bus: OFF send: 00 



< PROGRAMS ■laaMaailflSETSl 0* 



LOUDNESS CONTROL 

basic loudness: SO 

velocity > loud: +20 

Key > loud: +00 

Pressure > loud: +00 



KEflfl 13933 KEEl 19091 out EEHIEMS 



You may find the MIX page slightly easier to use, especially when setting effects for several 
programs at once. 

Also, if you are using the 'old Akai' method for creating multi-timbral setups, the MIX page is 
probably the best place to select your effects routings. 



Once you have selected the channel the program is routed to and set a send level, press the 
EFFECTS mode key to select the effects you want to assign to the program. You will see this 
screen: 



1 EFFECTS/ 


REUERE SELECT! 


for 


Prog nunber 
Reverb 


Chan 


Effects 




FXl:^M CHORUS+DEL 


► 


23 


LARGE 


HALL 


FX2: ► 8 


DIST EQ DDL 


► 


3 


SMALL 


ROOM 


RU3:^ 




► 


12 


GATED 


1 


RU4:^ 




► 


3 


SMALL 


ROOM 


■IBil 


itteti iMt 2 1 mm irrra iHai n 



This shows the selected effects files for all four channels. To select a different effects channel 
for the program (for example, you may have routed the program to FX2), press CURSOR 
DOWN to get to FX2 and use the DATA wheel to select that channel's effect and reverb 
preset. 

The effect preset will bring with it a reverb preset when selected (in the above screen example, 
selecting effect #6, CHORUS+DEL will automatically select reverb preset 23, LARGE HALL, 
the reverb 'associated' with that effect preset). To change that, move the cursor across to the 
Reuerb section of the screen and select a reverb preset as appropriate. 



S3200XL Operator's Manual - Version 1.00 



Page 165 



EFFECTS 



Furthermore, a single program will 'remember' the four effects selected on the other channels. 
You can use this to offer some alternative effects for a single sound. For example, you may 
have a guitar sound to which you wish to add effects. For effects channel 1 , you could select a 
filthy, heavy metal distortion sound with copius amounts of chorus, delay and a large hall 
reverb. For effects channel 2, you could select a mild overdrive effect with a large room and for 
RV3 and RV4, you could select two different reverb types. When you subsequently come to 
use this guitar sound again, you may switch between these different effects simply by 
selecting FX1, FX2, RV3 or RV4 in the MIX page, comparing and contrasting the different 
effects as you like. 

This is also used when assigning different keygroups to different effects channels in a single 
program (for example, assigning different drum sounds to different effects). 



NOTE: Please note that it is the program NUMBER that 'remembers' the effect selection, not 
the program name. If you assign a certain set of effects to a program and that program is 
renumbered, the effects association will be lost. For example, using the above example, if the 
guitar sound using the heavy metal hero effect is program 5 but you renumber this to program 
7 and a strings program to program 5, the guitar sound will use the effects selection for 
program 7 whilst your string section will turn into the violinists from hell 1 1 



Page 166 S3200XL Operator's Manual - Version 1.00 



EFFECTS 



ASSIGNING EFFECTS TO MULTI PARTS 

In the MULTI mode, you route the selected part to the effects in the FX Snd column of the 
main MIX page: 



DUBBI MULTI FILE 


Ch 


Lul Pan FX Snd 


1 BIS STRINGS 


i 


99 MID FX1 23 


2 DRUMS + PERCSl 


2 


99 MID FX2 12 


3 SYNTH BOSS 3 


3 


99 MID FK1 24 


4 GR PIANO 


4 


99 MID RU4 45 


5 HAMMONDEGGS 


5 


99 MID FX2 31 


mix mm iiniig laaiaa laaig mrm laamsi iftttti 



In this example, we see that PART 1 is routed to FX1 , PART 2 to FX2, PART 3 also to FX1 , 
PART 4 to RV4, etc.. Each parts' send level is adjusted in the Snd column. 

The actual effects presets are selected in the EFFECTS mode. Pressing EFFECTS in MULTI 
mode will show something like this screen: 



1 EFFECTS/- 


REUERB SELECT 1 


for 


■ Multi-File 
Reuerb 


Chan 


Effects 




FXl^ra CHORUS+DEL 


► 


23 


LARGE 


HALL 


FX2: ► S 


DIST EQ DDL 


► 


3 


SMALL 


ROOM 


RU3:K 




► 


12 


GATED 


1 


RU4:> 




► 


3 


SMALL 


ROOM 


WBil 


irrrn rrrm nrrn irrra iFfarn 



Here you may select the multi-effects and reverb presets for the four channels. 



NOTE: If you are using the 'old Akai' method for multi-timbral sequencing, please refer back to 
the previous page. 



If you think of the effects and their interaction with the parts more like you would approach 
assigning effects to channels on your mixer, things way be easier to follow. 

For example, let's say that instead of having the internal effects on the S3200XL, you have 
assigned each part to its own channel on a mixer. The first thing you would do is patch in the 
first multi effects processor to AUX 1 on the mixer. You would then patch in the second of your 
multi-effects processors to AUX 2. You would then patch in two reverb processors to AUX 3 
and AUX 4 respectively (of course, this is assuming you have two multi-effects processors and 
two reverb processors!). You have now assigned the outboard effects to the mixer channels 
much like routing parts to the S3200XL's internal effects. 

On the mixer, you would then set the send levels for AUX 1, 2, 3 and 4 for each channel as 
appropriate (like setting the SEND level parameter for each part in the MULTI). Finally, you 
would turn to the effects processors in your rack and select appropriate effects presets for the 
sounds routed (i.e. much like going to the EFFECTS mode and selecting suitable presets 
reverb and effects setting). 



S3200XL Operator's Manual - Version 1.00 



Page 167 



EFFECTS 



NOTE ABOUT EFFECTS SELECTION IN MULTI 

The S3200XL makes no distinction between effects in MULTI or in SINGLE. This means that 
an effect created for use with a sound in SINGLE mode can be used on the same sound in 
MULTI mode. 

This has distinct advantages over other sound modules that have internal effects. Typically, 
the effects are tied either to the single program or the multi-file and effects created in one 
cannot normally be used in the other. This means that a single sound that uses a particular 
effect has to lose them in MULTI mode. 

As a practical example of this, on a typical keyboard/sound module, let us say you have a 
raunchy heavy metal guitar leadline sound in its SINGLE mode. It uses all the multi-effects 
possible including distortion, EQ, chorus, delay and reverb to create this powerful sound. So, 
you decide to use it in a song and so you place the sound into the module's MULTI. However, 
as soon as the sound is placed in the MULTI, it loses the effect and is no longer the overdriven 
leadline sound it was in SINGLE mode. Disappointment all round! 

On the S3200XL, you do not have this limitation. In this case, let's imagine the same scenario - 
you have a guitar program in SINGLE mode to which you have added an effect that offers 
distortion, EQ, chorus, delay and reverb (let's say it's effect #10) that you want to use in a 
MULTI. Go to MULTI mode and place the guitar program into a part. Now select a suitable 
effects channel for that part (for example, FX1) and, in the EFFECTS mode, select effect 
preset #10 on FX1. The part containing the guitar sound will be routed to effect #10 and so will 
play exactly the same in the MULTI mode as it did in the SINGLE mode. 



Page 168 S3200XL Operator's Manual - Version 1.00 



EFFECTS 



ASSIGNING EFFECTS TO INDIVIDUAL KEYGROUPS 

It is also possible to send individual keygroups in a program to the effects. This is of particular 
use in drums and percussion programs. This is done in EDIT SINGLE or EDIT MULTI in the 
KEYGROUP page: 



laiVdrWIIdd 






MzMdrlilcU-lil 


0* 


Keygroups 


in 


D rogran: 


1 


<+x-> 




active keygroup 


number: 


1 


Edit: OHE 








Span: 


C_0 


- G_S 






Mut 


? Group: 


OFF 






Override 


prog 


FX bus: 


PRG 


send: 25 




EEQa kgrp EH3H Bm ESSE EmHI WSS 





The Override prog FX bus: and send: parameters allow you to send individual keygroups 
to the effects by overriding the main program's effects routing. The default will be PRG (i.e. the 
routing is using the program's effects buss selection) but you may also select OFF (i.e. the 
selected keygroup is not routed to the effects), FX1, FX2, RV3 or RV4. The send: parameter 
allows you to set the amount of effect for each keygroup. In this way, you can, for example, 
send individual drums in different amounts to the effects. Furthermore, each drum could be 
routed to a different effect (i.e. bass drum to a tight gated reverb, snare to a large hall, toms to a 
medium hall, etc.). 

To set this, select the keygroup in the active keygroup number: field (or press and hold 
the EDIT key and play the appropriate note) and route that keygroup as appropriate and set a 
suitable send: level. 



S3200XL Operator's Manual - Version 1.00 



Page 169 



EFFECTS 



PROCESSING EXTERNAL SOUND SOURCES THROUGH THE EFFECTS 

As well as processing programs, parts and keygroups through the internal effects, you may 
also process external sound sources thereby turing the S3200XL into a very flexible stand 
alone effects processor as well. You may process internal AND external sounds through the 
effects for even more flexibility. For example, in a mixdown, you could be mixing tracks off tape 
whilst running the S3200XL 'live' from a sequencer synced to a timecode track. You could feed 
audio from tape via two of the mixer's auxilliary sends to the S3200XL: 




L/R INPUTS 



To DAT/Tape/Cassette 

In this example, an Akai DR8 8-track digital audio recorder/editor is feeding its eight tracks into 
the mixer providing the 'non-MIDIable' parts such as vocals, guitar, etc.. It is also running 
timecode to a sequencer which, in turn, is 'playing' the S3200XL 'live' in the mix. The mixer's 
aux sends are also being fed to the S32000XL's inputs so that tracks from the DR8 may be 



Page 170 



S3200XL Operator's Manual - Version 1.00 



EFFECTS 



processed through the S3200XL. The S3200XL's individual outputs are being used here but 
you could just as easily use the L/R outputs if you are short of mixer channels and set the 
balance of the programs within the S3200XL. 

An extention of this may be to also be sequencing older synths that have no effects such as 
MIDI'd up anaolgue synths or FM synths, etc.. 

Of course, you needn't be sequencing the S3200XL during mixdown and it can just be used 
as a stand-alone two channel effects processor if you like 



ROUTING EXTERNAL SOUNDS THROUGH THE EFFECTS 

External sounds are routed via the I/O page in the main EFFECTS page. Pressing F1 
give this display: 



will 



FX: EXTERNAL INPUT MIX & GLOBAL OUTPUT 



external input L R 
FX channels: OFF OFF 
thru leuel: 00 00 



FX output 
L+R 



I/O 



i Mt 1 1 nrm i m 5 1 irmn mai 11 



Having only two inputs, you may only use two channels of the effects but you may route the 
Left input and Right input to any of the four effects using the FX channels: field. 

The thru leuel: field alows you to set how much of the 'staight' signal will be mixed in with 
the effected signal. When using a mixer and sending signals to the S3200XL via auxilliary 
sends, this is best kept at 00 but when playing a sound directly through the effects, you 
should set an appropriate balance here (you may also set the 'wet/dry' balance in the 
OUTPUTS page in EFFECTS EDIT - see later). 



NOTE: An effects channel may share an external input AND internal sounds. For example, 
you may route some programs/parts to FX channel 1 which also has an external input routed to 
it This is so that you don't have to make an 'either/or' decision and allows greater flexibility 
when bringing in external sound sources. If you want an FX channel for exclusive use by an 
external sound source, do not route any programs/parts to that FX channel. 



SELECTING THE EFFECTS OUTPUT 

You may, if you wish, route the effects to appear at a pair of the individual outputs. This allows 
you to balance the relative levels of the 'straight' signal and the effects signal on an external 
mixing console. This would also allow you to maybe EQ the effects signal or whatever. This is 
set in the I/O page in the FX output section and you may select L+R, 1/2, 3/4, 5/6, 7/8 as you 
wish. You will note, however, that the outputs selected here carries a mix of all four effects 
channels' outputs and it is not possible to route individual effects channels to different 
outputs. 



S3200XL Operator's Manual - Version 1.00 



Page 171 



EFFECTS 



CHAINING EFFECTS 

Not only is it possible to have the multi-effects with distortion/EQ>mod/delay>reverb on FX1 
and FX2 but you may also feed the outputs of these two channels to the 'spare' reverb 
channels RV3 and RV4. This allows you to add reverb to reverb. At first this may seem a bit 
pointless but one use that immediately springs to mind is adding a hint of 'acoustic' reverb to a 
gated or reverse reverb effect. This is done in the main EFFECTS page. By moving the cursor 
to the RV3 field thus: 



1 EFFECT 


S/ 


REUERE SELECT 1 


for 


Prog nunber 
Reuerb 


Chan 




Effects 




FX1=* 


6 


CHORUS+DEL 


► 


23 


LARGE 


HALL 


FX2:* 


3 


DI3T EQ DDL 


► 


3 


SMALL 


ROOM 


Esa^ 






► 


12 


GATED 


1 


RU4: ► 






► 


3 


SMALL 


ROOM 


wmm 




irrrn nrm rrrrn imn iFfain 



You may select RV3's input. You may select from the following options: 



RV3 



FX1 



FX1 



RV3 will be fed with whatever is routed to RV3 in the SINGLE or MULTI 
modes or in EDIT SINGLE, Override prog FX bus: field. 

This will route anything routed to the FX1 buss to RV3. 











MOD/ECHO 












* ll/F 








1 




RATI I 


/ 










I M I I I 


ONTROL y< 


/ 


DIST/EQ 


— » 




0PATH C 


/ 








M 




\ 






\ 


PATH 




\ 












REVERB 


> I L/F 













RV3 REVERB 



L/R outs 



FX1 DIST/EQ 



This allows you to send one sound (internal or external to two reverbs. 
The output of the distortion/EQ section of FX1 will be fed to RV3: 









MOD/ECHO 










' ll/F 








I 




t PATI I 


/ 








< I M I I I 


ONTROL y< 


/ 


DIST/EQ 


~» 


0PATH C 


/ 




t DA "Tl_l 


\ 






< PA I H 




\ 






1 






REVERB 


> I L/F 






















RV3 REVERB 


> L/F 













Page 172 



S3200XL Operator's Manual - Version 1.00 



EFFECTS 



FX1 MOD/ECHO 



The output of FX1's modulation/echo section will also be fed to the 
reverb in RV3: 



DIST/EQ 



RV3 REVERB 



PATH 



0PATH CONTROL 



PATH 



* MOD/ECHO -► 



L/R outs 



L/R outs 




L/R outs 



FX1 REVERB 



DIST/EQ 



Again, you may have two reverbs applied to any sound routed to the 
FX1 buss. 

This routes the output of FX1's reverb to RV3: 



PATH 



0PATH CONTROL 



PATH 




RV3 REVERB 



L/R outs 



L/R outs 



L/R outs 



This routing allows you to 'reverb reverb'! This has several uses. You 
can set, for example, a gated reverb or reverse reverb effect in FX1 
and add to that 'normal' acoustic reverb. You could select gated reverb 
in FX1 and add to that reverse reverb in RV3. There are many 
possibilities and in conjunction with the PATH CONTROL and the 
various sections' level/pan controls, even more things are possible 
and some very sophisticated multi-effects can be created. 



NOTE: RV3 cannot take as its input FX2. 



The same may be done with RV4 using FX2. The choices are identical to those described 
above for RV3 except that RV4 takes as its input FX2. Please refer to the above description for 
details. 



NOTE: RV4 cannot take as its input FX1. 



S3200XL Operator's Manual - Version 1.00 



Page 173 



EFFECTS 



MUTING EFFECTS 

There may be times when you want to temporarily turn the effects off. You could of course, 
turn the send level down at the program/multi source but a quicker way is to use the soft keys. 

lHaJJJ will mute all four effects channel s. When pressed, it change s to this l»«l and the four 
individual mute keys will change to this: l> l <l l>2<l l>3<l l>4<l indicating that all effects are 
muted. Press F8 again to un-mute the effects. 

Soft keys F4-F7 show IMt. 1 1 iMt 2 1 1 Mt 31 iMt 41 and you may also mute the effects channels 
independently using t hese keys. When these are pressed, they will show 
l> l <l l>2<l l>3<l l>4<l according to which key you pressed. Press the appropriate soft key 
again to un-mute the effects channel. 



Page 174 S3200XL Operator's Manual - Version 1.00 



EFFECTS EDIT 



EFFECTS EDIT 

As we have seen, there are 50 'effects' presets (i.e. presets for the distortion/EQ/ring 
mod/modulation/delay effects sections of the multi-effects channels) which can be freely 
assigned to the two multi -effects channels FX1 and FX2. These multi-effects presets have 
associated with them, a reverb preset so that multi-effects and reverb are always selected 
whenever you select a new multi-effect preset. The reverb presets associated with the effects 
are drawn from the 'pool' of 50 reverb presets. Our programmers have put together a wide 
palette of multi-effects types to suit a variety of different purposes which we hope you find 
useful. However, with so many effects to choose from and with such a wide range of 
parameters and possible combinations, it may be that you will need to edit these to your 
requirements. To edit any of these presets, first press EFFECTS and select the effect you 
want to edit. Once you've done that, press EDIT. 



NOTE: Editing an effect and/or reverb preset will, however, affect any sound that uses that 
preset. For example, you may have a guitar sound that uses effect preset #4 which is set to 
chorus and delay. However, if for the purposes of the guitar sound, you add distortion and EQ 
and change the chorus to a flange setting, if there is another program in memory that uses that 
effect preset (for example, a strings program), it too will be affected. 



S3200XL Operator's Manual - Version 1.00 Page 175 



EFFECTS EDIT 



DISTORTION/RING MODULATION 

The first page you encounter is the DIST(ortion) page 



F¥. EDIT : DISTORTION 



FX2: 



"RINGMOD" 
frecj: 100Hz 
deptti: OO's. 



DISTORT 

depth: 00 

output: 99 



DIST EQ DDL 

bypass 
OFF 



dist em jgnia BSiEl laan EHi BUSH mm 



Here, you can add ring modulation and distortion to a sound. 

A ring modulator is a device with two inputs and one output. One input carries the audio source 
and the other a sine wave signal of variable frequency. The two signals are modulated to 
produce a variety of different effects. If the modulating oscillator's frequency is low, the effect 
will be a tremolo effect. At frequencies of 100Hz or so, you can produce the famous 'dalek' 
voices and other robotic, metallic effects on speech. At high frequencies, the results are rather 
unpredictable and largely depend on the audio input signal but, basically, they can best be 
described as discordant and clangourous. 

The parameters on this page are FREQ(uency) and DEPTH. The FREQ parameter sets the 
frequency of the sine wave oscillator and the DEPTH parameter sets the amount of ring 
modulation. 

Distortion is primarily useful for emulating electric guitars but you may also find it useful on 
electric piano sounds and organ sounds to emulate the sound of these instruments slightly 
overloading an amplifier. Of course, you can use it on any sound and you could add a bit of 'dirt' 
to a drums program by adding a small amount of distortion. 

The parameters for distortion are DEPTH and OUTPUT. DEPTH sets the amount of distortion 
and OUTPUT sets the output level of the distortion device. You will find that higher DEPTH 
settings will require you to turn down the LEVEL parameter as increasing DEPTH increases 
the signal gain quite considerably. High DEPTH settings produce extreme distortion effects 
(i.e. heavy metal overkill) whilst lower DEPTH settings produce milder 'clipping' effects. 

The bypass: fj e ld allows you to switch out the distortion/ring mod section from the chain of 
effects. This is useful when you want to switch this section of the effects out but don't want to 
upset the control settings. 



Page 176 



S3200XL Operator's Manual - Version 1.00 



EFFECTS EDIT 



EQ 



Pressing W3EM in any of the effects pages will give you access to the EQ functions. The EQ 
section of the two multi -effects channels is a four band EQ offering lowpass control over a low 
frequency, two bandpass mid frequencies and a highpass high frequency control. I.e.: 



LP 




GAIN 








BP1 




GAIN 








BP2 




GAIN 








HP 




GAIN 




You may set the centre frequency and the gain for each of the four channels (on the two mid 
frequency ranges, you may also set the width of the EQ effect). 



FREQUENCY 

< > < > 

< > < > 




LOW BP1 BP2 HI 



The frequency of each of the four bands is variable and may overlap if you wish and you may 
selectively boost these frequencies if you wish to enhance certain aspects of the sound. 
Furthermore, you can modulate the frequencies of either of the two mid range sections to 
create auto-wah effects such as you find on a wah-wah pedal. It is also possible to create 
synthesiser filter sweep effects. 

The EQ screen looks something like this: 



IFX EDIT :4- 


BAND EQ 


FX2:H9 DIST 
MID2 HIGH 


EQ DDL 
bypass 




LOU 


MIDI 


freq: 


100Hz 


IkOHz 


6k3Hz 


lOkOHz 


OFF 


leuel: 


+00dB 


+00dB 


+00dB 


+00dB 




width: 




50 


50 






fnod: 


0.0Hz 


00 1 depth t 00 


0.0Hz 




latai 


eq iBMti ssssa ism una bum i qlli 



The parameters are: 



freq: 



leuel: 



This sets the centre frequency for the four bands of EQ, LOW, MIDI, MID2 
and HIGH. For Khz frequencies, the field is expressed as nknHz. For example, 
a setting of 6k3Hz represents a setting of 6.3kHz. You will note that the values 
for these fields cannot be set using the numeric keypad. Only the DATA 
control may be used. 

This sets the level of the four frequencies. 



S3200XL Operator's Manual - Version 1.00 



Page 177 



EFFECTS EDIT 



width: For the two mid-range frequencies, you may also set the width of the EQ. 

Larger values set a wider width whilst lower settings produce a narrow width. 




\WID = 00 / 
WID = 99 

With narrow WIDTH settings, you can accentuate certain frequencies more 
tightly whereas with higher width settings, a wider frequency range is covered 
by this EQ parameter. If you are familiar with synthesiser filters, this control is 
similar to the resonance control. If you are familiar with parametric EQ devices, 
this is the same as the 'Q' or 'bell' control found on outboard EQ devices or 
some very expensive mixers' EQ sections. 

As mentioned, you may also modulate the two bandpass filters to create swept 
'auto wah' effects. Normally, you would only modulate one of the bandpass 
filters but you may independently modulate both for more extreme effects. 
These effects are set along the bottom row of the page using the f nod: 
(frequency modulation) and t depth t parameters. The f nod: parameter sets 
the rate of modulation and the t depth t parameter sets the amounts of 
sweep. The arrows indicate which parameter relates to which frequency band - 
the controls to the left of the t depth t parameter affect MIDI and those to the 
right of t depth t affect MID2. 

Many effects are possible using the 'autowah' functions. Effects from 'wah- 
wah' clavinet and guitar may be created by sweeping just one band (either will 
do) and more extreme filter sweep effects can be created by sweeping both. 
Low width: setting (i.e. tighter 'bell') accentuates the effect. 

The phase shifter option in the MOD section can also be enhanced by 
sweeping one (or both) of the bandpass frequencies with narrow width 
settings at exactly the same rate as the phase shifter. 

You could also experiment with setting the AUTOPAN selection in the MOD 
section to the same rates so that EQ/filter sweeps pan in synchronisation with 
each other. 

Some of the effects presets utilise these effects - you may like to study them 
for a better understanding of what is going on. 

The BYPASS field allows you to switch the EQ section out of the effects 
chain. You may also 'flatten' the EQ (i.e. set the parameters so that there is no 
EQ applied) by setting the LOW and HIGH bands to 500Hz and OOdB and the 
two MID sections' level to -<x> (the mid bands' frequencies have no effect 
when -ooisset). 



Page 178 S3200XL Operator's Manual - Version 1.00 



EFFECTS EDIT 



MODULATION EFFECTS 

The next group of pages deal with the modulation effects. These include effects such as 
chorus, flanging and phase shifting. Also in this section are pitch shift, rotary speaker 
emulation effects and autopanning. The modulation effects section screen looks something 
like this: 



FX EDIT : MODULATION 



FX2: 

function: PHA/FLA/CHOR 
node: CHORUS 



DIST EQ DDL 



speed: 

depth: 

feedback: 



0.1Hz 

50 
-10 



laMum mod nano ism eeb Husa qeq 



You must first choose which type of modulation effect you want to use in the f unct ion: field. 
The choices are 



PHA/FLA/CHOR 



This selects that the modulation effects are phasing, flanging or 
chorus. 



ROTARY SPKR 



This selects that this section of the effects will create rotary speaker 
emulations. 



AUTOPAN/FMOD 



PITCH+SHIFT 



This selects that this section of the effects will give autopanning and 
frequency modulation effects. 

This selects that this section of the effects are for creating pitch shift 
and detune effects. 



PITCH+FBK 



This selects that this section of the effects are for PITCH SHIFT with 
the delayed feedback. 



CHORUS, PHASE SHIFT AND FLANGING EFFECTS 

If you select PHA/FLA/CHOR, the screen will be as above. The parameters you may set for 
phasing, flanging and chorus are all the same but the actual algorithm used for each effect type 
is slightly different and so yields a different sounding effect. All these effects are produced by 
modulating a short delay with a low frequency oscillator. All these effects are stereo. In the 
PHASING and FLANGING effects, each side of the stereo image is modulated in anti-phase 
(i.e. one channel's control signal is fed via an inverter so that as one channel goes up, the 
other goes down) to give great depth and stereo width to a sound (the CHORUS effect is more 
complex and is described in detail on the next page). 



Audio in 



*| DELAY R 
*~ 



^ 



jjw]^ 



» DELAY L 



LFO 



These effects are chosen in the node: field and are as follows: 

PHASING This gives a 'swooshing' effect. It uses a very short delay time which is 

modulated by an LFO. 



S3200XL Operator's Manual - Version 1.00 



Page 179 



EFFECTS EDIT 



FLANGING This also gives a 'swooshing' effect but, because it uses a slightly longer basic 
delay time, the effects are more pronounced and more 'metallic'. 

CHORUS This produces an effect similar to several instruments playing at the same time. 

It is good for 'beefing up' many different sounds and giving the impression of 
an ensemble effect. CHORUS is an excellent 'all rounder' on most synth 
sounds (bass, pads, string synths, brass), electric piano sounds, guitar, etc.. 



NOTE: Many chorus units you can buy as pedals or rack mount processors use a single delay 
line modulated by an LFO. This can sometimes produce a very 'cyclic', repetitive sound. To 
overcome this, some chorus units use two delay lines or two LFOs. The S3200XL's chorus, 
however, actually uses four delay lines each modulated at different phase angles of the LFO's 
output to produce a very broad stereo effect with little or no 'cyclicness'. 



Audio in 







DELAY 1 




-*-CA — 










*2 — I 

L50 

-W71 — 










j 


V 




















DELAY 2 












^\t> — 

L15 






j 


\ 


1 \3~\ 






^ 

f 


LnJ 


— »- 




> 










DELAY3 












R15 

-+-CA— 




















> 


,j 






DELAY 4 












^Yj-^ 





L/R 



R50 

Furthermore, the outputs of these delays are spread across the stereo image to give a wide, 
expansive (expensive?) chorus sound. 



The parameters for these effects are: 

speed: This sets the speed of the phasing, flanging or chorus effect. 

depth: This sets the depth of the phasing, flanging or chorus effect. For flanging, 

high depth settings can work well but for chorus effects, you may find lower 
depth settings more appropriate. To create classic phasing effects, low depth 
settings are appropriate. 

feedback: This sets the amount of signal that will be fed from the output of the effect 
back into its input. This has the effect of sharpening or accentuating the 
effect. This parameter may be inverted and negative settings have the effect 
of heightening the effect even further. 



Page 180 



S3200XL Operator's Manual - Version 1.00 



EFFECTS EDIT 



ROTARY SPEAKER EFFECTS 

If ROTARY SPKRS is selected in the f unct ion: field, you will see this screen: 





?:■§] DIST EQ DDL 


IF- EDIT : nUDULHTlUHBBW 


function: ROTARY SPKRS 




speed l: 0. 1Hz 


init: SPEED 1 


speed 2: 7.0Hz 


Midi Control 


accelerat ion: 2. OSec 


cont: 1 LEUEL 


depth: 30 


chan: 1 

in mm taaaa irrm 


IflfcH ■ 3M MOD IMM1 iaa 



speed 2: 
acceleration: 



In 'the good ol' days', the sound of an organ was enhanced using a rotary speaker (it was also a 
popular one-off effect on guitar and other sounds as well). A rotary speaker is a speaker 
enclosure that has a speaker on a motor that literally spins round and round. This 'throws' the 
sound around giving a very pleasing effect. However, these rotary speakers have two speed 
settings, slow and fast, and using a switch, you can switch between slow and fast. The slow 
speed gave a smooth undulating effect whilst the fast setting gave a kind of tremolo-cum- 
vibrato effect. The ROTARY SPKRS selection allows you to simulate this. The parameters are: 

speed 1: This sets one of the rotary speaker speeds. Typically, this will 

be used to set the speed of the slow rotary speaker effect but 
it may be used as the fast rotary speaker effect if you wish as 
the S3200XL simply toggles between SPEED1 and 
SPEED2. 

This sets the second of the rotary speaker effect speeds. 

On a 'proper' rotary speaker, because of mechanics and 
inertia, it takes a certain amount of time for the speaker to 
change from the slow speed to the fast speed and vice versa. 
This parameter allows you to set the time in seconds it will take 
to go from SPEED1 to SPEED 2 and vice versa. 

depth: This sets the depth (or width) of the rotary speaker effect. 

High settings will give a wide left-right sweep, lower settings 
will give a narrower sweep. 

init: This parameter sets which of the speeds will be the 'initial' 

speed when you select this effect. It also allows you to listen 
to the speed parameter you may be adjusting. For example, 
when setting speed 1, select SPEED 1 and when setting 
speed 2, select SPEED 2. This allows you to set up rotary 
speaker effects without having a MIDI controller to hand. 

You may switch between the two speeds using any of the 128 MIDI controllers. This is set 
under the Midi Control parameters. 



cont: 



This selects which MIDI controller will trigger the change from 
SPEED1 to SPEED2 and vice versa. You may select any of 
the 128 MIDI controllers. 



NOTE: If using MODWHEEL, make sure that this is not used to introduce vibrato to the sound 
as well otherwise, as you change the rotary speaker speed, you will also increase/decrease 
vibrato which may or may not be desirable. 



LEUEL 



Depending on the MIDI controller selected in the cont: field, 
you may select whether crossing a threshold level of 64 that 



S3200XL Operator's Manual - Version 1.00 



Page 181 



EFFECTS EDIT 



Chan: 



will cause the speed change or a switch action that will cause 
the speed change. 

When LEVEL is selected, once the controller goes past a 
level of 64, the speed will change. When TOGGLE is 
selected, the selected controller will switch between speed 1 
and speed 2 and vice versa. Confused? Read on! 

Let's take a practical example. Let us imagine that you are 
using the modwheel (controller #1 - the default) to switch 
between speed 1 and speed 2. With LEVEL selected, 
pushing the modwheel up will cause the controller to go over 
the 64 threshold (i.e. as it moves from 0-127) and the rotary 
speaker effect will change from speed 1 to speed 2 (i.e. 
typically, get faster). Bringing it back down again will once 
again go over the 64 threshold (i.e. as it travels from 127-0) 
causing the rotary speaker effect to go from speed 2 to speed 
1 (i.e. typically, get slower). However, with TOGGLE selected, 
pushing it up will cause it to change from speed 1 to speed 2 
but you must bring the modwheel down again and push it 
back up to go from speed 2 to speed 1 . 

LEVEL is recommended for use with continuous controllers 
(modwheel, pressure, breath, footpedal, etc.), whilst 
TOGGLE is recommended for 'switch action' controllers 
(footswitch type controllers such as sustain, etc.). 

This parameter is really only of any use when in MULTI mode. 
Because several programs may be sharing the same effect, 
you must designate which MIDI channel will initiate the change 
from SPEED1 to SPEED2. If the effect is to be used in a 
MULTI, select the channel of the controller that will trigger the 
change in speed (for use in SINGLE mode, select the same 
MIDI channel as the program's MIDI channel). 



NOTE 1: In practice, it is likely that only one sound will be routed to a multi-effects channel 
producing a rotary speaker effect (typically, an organ sound) in a multi. In this case, set the 
Chan: parameter to the same channel as the part the organ sound (or whatever) is in. For 
example, if the organ sound is in PART 5 on MIDI channel 5, set 5 in the Chan: field shown 
here. 

Of course, more than one part may be routed to a multi-effects channel producing a rotary 
speaker effect but one channel must be designated to initiate the change from SPEED 1 to 
SPEED2. Select as appropriate. 

NOTE 2: Please note that because the stereo mod section passes through the echo 
section, any stereo mod effects you create will be 'monofied' when mono delay effects are 
selected. As a result, you cannot effectively use the rotary speaker effects with mono echo. 

NOTE 3: You will find that the rotary speaker effect is best created with no 'straight' signal. 
You should use the DIRECT SIGNAL: ON/OFF function in the FX OUTPUT pages to turn off 
the straight signal. Preset rotary speaker effects have DIRECT SIGNAL set to OFF. 
TIP: You may find the sound of a rotary speaker is enhanced using just a hint of distortion in 
the distortion section to re-create the overdrive effect commonly found on rock organ sounds. 



Page 182 



S3200XL Operator's Manual - Version 1.00 



EFFECTS EDIT 



AUTOPAN AND FREQUENCY MODULATION EFFECTS 

If you selected FMOD/AUTOPAN in the function: field, this selects the autopanner and 
frequency modulator. This will cause the sound to pan backwards and forwards from left to right 
and back again. You may also add pitch sweep effects to this to create Doppler effects. You will 
see this screen: 



FX EDIT : MODULATION 



FX2:^ DIST EQ DDL 
function: FMOD^flUTOPflN 

FMOD flUTOPflH 

speed: 10 speed: 10 

depth: 50 depth: 50 

feedback: 10 node: |>R 

qmieu mod maa emu mm eesi dhh 



The FMOD parameters are: 

speed: This sets the speed of the frequency modulation. 

depth: This sets the amount of frequency modulation. 

feedback: This sets the amount of feedback from the output of the frequency modulator 
back to its input. This parameter can be used to accentuate the frequency 
modulation effect. 

The AUTOPAN parameters are: 

speed: This sets the speed of the autopan effect. 

depth: This sets the 'width' of the autopan effect. With high settings the sound will 

pan across a wider stereo image. 

node: This sets the type of the autopan effect. The choices are: 

PAN The sound will move from left to right but, as the sound crosses the 
central axis, the level will be constant giving the impression of it simply 
panning left to right. 

LH? The sound will move from left to right. As the sound crosses the 
central axis, however, the effect is of the sound 'rotating" (i.e. as it 
goes from left to right, the sound becomes more distant and as it 
travels from right to left it becomes more 'up-front' and forward). 

f^L As above but in the opposite direction. 

TREM The output of the autopanner is mono and the effect is a tremolo 
effect (i.e. mono amplitude modulation) 

This effect selection can be used to produce many different sounds. It can used as an ordinary 
autopanner (i.e. FMOD parameters all set to 00) or to create vibrato and chorus effects (using 
just the FMOD parameters; AUTOPAN parameters set to 00) or, using both panning AND 
frequency modulation, you can create a Doppler effect (i.e as the sound moves, it also 
changes pitch - the classic ambulance siren effect!). 



NOTE: Because the stereo mod section passes through the echo section, any stereo mod 
effects you create here will be 'monofied' when mono delay effects are selected. As a result, 
you cannot effectively use autopan with mono echo. 



S3200XL Operator's Manual - Version 1.00 Page 183 



EFFECTS EDIT 



STEREO PITCH SHIFT EFFECTS 

If you selected PITCH SHIFT in the f unct ion: field, the screen will look like this: 



DIST EQ DDL 



FX EDIT : MODULATION 



FX2: 
function: PITCH SHIFT 

LEFT RIGHT 
tune: +00.00 +00.00 



QMiEa mod @an Em mm nnsa cbllh 



The pitch shifter allows you to set an interval for left and right. More often than not, a small 
amount of detune is set here (i.e. LEFT = -00.05/RIGHT = +00.05) but you can also set these 
parameters to specific intervals such as a fifth (+07.00) or an octave (+12.00) or whatever. 



NOTE: As with all but the most expensive pitch shifters, there is a small delay in the pitch 
shifted sound. This can be used to enhance an ensemble effect, however. Also, extreme 
pitch shifts will exhibit some 'wobbly' artefacts. In this case, mix the level of the pitch shifted 
signal back a bit. 



If you select PITCH SHIFT+FB (pitch shift plus feedback) in the f unct ion: page, you will see 
this screen. 



IFX EDIT : MODULATION! 


FX2:^ DIST EQ DDL 
: T+FBK 


function: [ 


5 ITCH SHIF 




LEFT 


RIGHT 


tune: 


+00.00 


+00.00 


delay: 


OnS 


OnS 


feedback: 


00 00 
MOD BBUI Egg EM BSaa QSLTJ 


HMillsa 



This is exactly the same as before and you may set the pitch shift interval as described above. 
However, in the PITCH SHIFT+FBK selection, you also have access to a delay line. The delay 
parameters allow you to set a delay time for the feedback loop. This effects selection looks like 
this as a block diagram: 





FB 


<L 

7U 






nn av i t C 






ULLAY L < yt 


ir^ 
















SHIFT LEFT 












Audio in 




FBI 


<R 








nn av n t C 








ULLAY I \ < y 


Cr~ 














SHIFT RIGHT 

















The signal from the pitch shifter is fed back into itself via a delay time. If you can imagine it - the 
sound goes through the pitch shifter and, after a delay, that pitch shifted sound is fed back into 
the pitch shifter where it is further pitch shifted. After a delay, it is fed back again after the delay 
and shifted again. The amount of feedback and the delay time for each channel is separately 
variable and this gives rise to all sorts of weird and wonderful arpeggio effects. 

The delay: parameters set the delay time for the feedback loop and the feedback: 
parameters set the amount of feedback (repeats) for the sound. 



Page 184 



S3200XL Operator's Manual - Version 1.00 



EFFECTS EDIT 



NOTE: You will please note that when PITCH SHIFT+FB is selected, this uses the delay line 
normally used for echo effects. In other words, the echo effects described later in this section 
are not available when PITCH SHIFT+FB is selected. 



S3200XL Operator's Manual - Version 1.00 



Page 185 



EFFECTS EDIT 



BYPASSING THE MODULATION EFFECTS 

The final selection in the modulation effects section is not an effect as such but bypasses the 
modulation section completely, thereby switching it out of the effect chain: 



IFX EDIT : MODULATION! 


FX2:B DIST EQ DDL 


function: BYPASS 




LEFT 


RIGHT 


tune: +00.00 


+00-00 


delay: OnS 


OnS 


feedback: 00 


00 

GUI EEB ESSi [SLLH 


QMiEa mod Baaa 



Although you may move the cursor to the fields and set values, they will have no effect in this 
BYPASS screen. 



Page 186 



S3200XL Operator's Manual - Version 1.00 



EFFECTS EDIT 



DELAY AND ECHO EFFECTS 

The next section in the effects allows you to set delay and echo effects. The delay line in the 
multi-effects is dual channel allowing you to create ping pong and many other stereo delay 
effects. It can also operate in a mono mode and this has the advantage of doubling the 
available delay time. The echo/delay effects available are 

MONO LEFT This will create a mono echo effect and the signal is derived through the delay 
line's left input. 



LEFT IN 



HF DAMP 



DELAY R 



DELAY L 



FBK 

■HZh 



MONO L+R This creates mono echo and delay effects but derives its input signal from the 
left and right inputs to the delay line. 







FBK 






HF DAMP — «- 


-<7l^ 






K^ 










RIGHT IN 




DELAY R 






' * 


f 






> 


















4 


\ 






DELAY L 




1 PPT IM 











NOTE: Because the stereo mod section passes through the echo section, any stereo mod 
effects you create (i.e. chorus, flange, phase, rotary speaker or autopan/frequency mod 
effects) will be 'monofied' when MONO LEFT or MONO L+R effects are selected. 



XOVER L&R This is a 'pseudo-stereo' delay effect that uses the two delay lines the 
feedback path of which crosses over: 



LEFT IN 



RIGHT IN 



DELAY RIGHT 



» DELAY LEFT 




This gives rise to many interesting panning echo effects. 



S3200XL Operator's Manual - Version 1.00 



Page 187 



EFFECTS EDIT 



STEREO This creates stereo echo and delay effects with separate control of the left and 

right delay times. 



LEFT IN 



RIGHT IN 



FBKR 
HFDAMP M /^-| 



DELAY RIGHT 



FBKL 
HFDAMP K -0-l 



i— > DELAY LEFT 



NOTE: The delay section of the effects has one large pool of memory to create the echo and 
delay effects. When in any of the MONO modes of echo, the whole memory is used to create 
long delays. In the XOVER and STEREO modes, however, the pool of memory is split 
between the two channels and so such long delay times cannot be set. 



Page 188 



S3200XL Operator's Manual - Version 1.00 



EFFECTS EDIT 



MONO DELAY/ECHO EFFECTS 

If you selected either of the MONO echo effects, the screen you will see is something like this: 



F¥. EDIT : DELAYS-ECHO 



DIST EQ DDL 



FX2: 
node: MONO LEFT 
fbk delay: lOOnS 
feedback: 00^ 
HF damping: 20kHz 
L/R delay offse t: 00 

ElEfl em wi echo Ega ehm ansa mm 



outputs 
POST-delay 



The parameters are: 

fbk delay: Here, you may set a delay time of up to 700mS 

feedback: This sets the amount of repeats the echo effect will have by setting how much 
of the delayed output is fed back into the delay line. 



NOTE: Be careful with high? eedback: settings as you can cause the delay line to go unstable 
and cause 'howl around'. 



HF damping: This sets the high frequency damping. The HF DAMP parameter filters out 
some of the high frequency components in the sound in the feedback loop. 
This is to simulate the effect that in real life, each repeat of the echo gets 
slightly duller as the surfaces off which the sound is bouncing absorb some of 
the high frequencies. The value shown is the frequency that will be 
attenuated in the feedback loop. 

outputs: This selects where you will listen to the output of the delay and allows you to 

set the direction of the modulation section and the echo section. You may 
select POST which will give the effect of echo followed by the mod effects or 
you may select PRE which will give the effect of the mod effects followed by 
echo. 



NOTE: When PRE is selected, you must set a value in the feedback: parameter to hear any 
delay effect 



NOTE REGARDING MONO ECHO EFFECTS 

Please note that because the stereo mod section passes through the echo section, any 
stereo mod effects you create will be 'monofied' when mono delay effects are selected. To 
enjoy stereo modulation effects with echo, please choose the stereo delay option (see 
below). 



S3200XL Operator's Manual - Version 1.00 



Page 189 



EFFECTS EDIT 



PING PONG ECHO EFFECTS 

The L/R delay offset: fj e ld allows you to add another repeat element to the echo effect 
and takes a 'tap' off the delayed signal to produce a secondary repeat. This allows you to create 
pseudo stereo 'ping pong' echo effects that bounce back and forth from left to right. A setting 
of 00 creates a mono echo effect. A setting of +50 will create a 'ping pong' echo effect that 
goes from right to left and back again. A setting of -50 will create a 'ping pong' echo effect that 
goes from left to right and back again. Settings in between 00 and ±50 will give 'asymmetric' or 
syncopated 'ping pong' effects. 

For example, with afbk delay: setting of 500mS and a L/R delay offset: f ±50, the 
result will be equally spaced repeats of 250mS. I.e.: 



IN 



i 



i i 



LEFT 



I I I 

250mS i 750mS 1.25Sec 



i i 



WL RIGHT 

I I I I 

500mS 1Sec 1.5Sec 

With L/R delay offset: settings of, say, ±25, the first repeat will come after 125mS, the 
second after 500mS, the third after 625mS, etc. (depending on the amount of feedback). I.e. 



i i i 



I I l_ 



LEFT 



_ 125mS i 625mS 1.125Sec 

IN 



i i 



J_ 

500mS 1Sec 1.5Sec 



RIGHT 
I I I I 



The closer the L/R delay offset: parameter is set to ±50, the closer the first echo will be to 
the value set in the f bk delay: parameter. 



Page 190 S3200XL Operator's Manual - Version 1.00 



EFFECTS EDIT 



CROSSOVER DELAY 

The XOVER delay selection offers an interesting variation on ping-pong echo. Ping-pong 
simply 'switches' between left>right>left>right>etc. The XOVER delay effect will swap the 
left/right signals with every other repeat - i.e. Ieft+right>right+left>left+right>etc. 

Difficult to describe but fun to use! 

The parameters are the same as for either of the MONO delays although you will note that 
because two delay lines are being used for the XOVER effect, the maximum delay time you 
can set is halved. 

With XOVER L&R selected, the L/R delay offset: control allows many interesting 
'syncopated' delays to be created that pan across the stero field. 



S3200XL Operator's Manual - Version 1.00 Page 191 



EFFECTS EDIT 



STEREO DELAY/ECHO EFFECTS 

If you select STEREO in the MODE page, the screen display will show something like this: 



F¥. EDIT : DELAYS-ECHO 



REUERB EQ S 



node: STEREO 

LEFT RIGHT 

delay: lOOnS IOOnS 

feedback: QQ m s a 00^ 

HF damping: 20kHz 20kHz 

nren ■aea isma echo laan ehm EUSa rsm 



outputs 
POST-delay 



Here you may set the delay time, the high frequency damping and feedback level for the left 
and right delay channels. All parameters are identical to those explained in the MONO ECHO 
effects except, of course, that you have two separate channels of them. You may set 
completely different values in both channels to create some wild echo and delay effects. 



NOTE: The maximum delay times for each of the two delay lines is half that of the MONO delay 
times we have seen so far. 



Page 192 



S3200XL Operator's Manual - Version 1.00 



EFFECTS EDIT 



REVERB EFFECTS 

Besides all the effects described so far, the effects processor also has a reverb effect on each 
of the four channels. 



NOTE: The multi effects described above relate only to the multi-effects channels 1 and 2. 
They are not available on effects channels 3 and 4 which are reverb only. 



Reverb is a delay effect we experience almost everyday. Whether we are in a bathroom or a 
cathedral, most acoustic environments have some form of reverberant characteristic. It is 
probably THE most important effect and has the most pronounced effect (no pun intended) on 
our perception of a sound largely because we are so used to hearing it all around us every day. 
This is why a sound with reverb (even if it is just the smallest hint) sounds better and more 'alive' 
and realistic than a 'dry' sound with no reverb. 

If you imagine you are in a large hall and you clap your hands, the sound travels outwards to the 
walls and bounces off them and we hear those reflections. Because the reflections are 
bouncing off the walls at many different angles, the effect is that you hear the familiar 
reverberant 'smudge' or ring after the initial sound. 




In this example, we can only see the one elevation but the sound will also be bouncing off the 
side walls as well as the walls behind you to build up a dense reverberation pattern. 
Characteristics of the room determine the sound of the reverberation. For example, a large 
room or hall will give a long reverberant decay but, the same room or hall filled with wall-to-wall 
velvet drapes will give a shorter, duller reverberation as the drapes absorb all the high 
frequencies. In a small tiled room, you can get quite a pleasing short reverb (which is why so 
many people sing in the shower!) where the highly reflective tiled surfaces cause the sound to 
bounce around and build up a dense reverberation quite quickly. It also takes a certain time for 
the sound to get to the walls and then travel back to your ears - this is called the PRE-DELAY 
time and the larger the acoustic environment, the longer the pre-delay time (usually!). 
Graphically, reverb 'looks' a bit like this: 



PRE-DELAY 




SOUND REVERBERATION 



S3200XL Operator's Manual - Version 1.00 



Page 193 



EFFECTS EDIT 



In the effects processor, we have access to parameters that allow you to set up a wide range of 
reverb effects. The reverb page is as follows: 



IFX EDIT : REUEREI 


RU2:BI DIST EQ DDL 
LL 


type: LARGE HA 


predelay: 


OOnS 






tine: 


24 






diffuse: 


99 


LF darop: 


10Hz 


near: 


00 

iiaiaasi 


HF danp: 20kHz 

9 reu nun rama mm 


HMiiisai&i 



Here, you can select from a range of reverb types that include large hall, small hall, large room 
and small room. You may also select certain special reverb effects such as reverse and gated - 
we will come to those a bit later. Assuming you select one of the 'natural' reverb effects, the 
parameters are as follows: 

predelay: This sets the time between the original sound and the onset of reverb. 

tine: This sets the time it takes for the selected reverb type to die away. 



NOTE: These are probably the most important parameters you will want to edit, predelay: 
sets the delay between the direct sound and the onset of the reverb and the tine: sets the 
length of the reverb decay. Adjusting these will have a profound effect on the 'size' of the 
reverb effect you are creating. Setting longer predelay: will give a greater sense of distance 
as it effectively sets the nearest wall the sound will bounce off first. If this time is long, then we 
perceive that the room is much larger. By setting long tine: we a / S o increase the effective 
size of the acoustic environment as larger acoustic environments cause the reverberation to 
last longer. 

Normally, you would increase the length of the predelay as you increase the length of the 
decay. It is uncommon to have a very long pre-delay and a very short reverb decay (but is good 
as a special effect!). You may, however, set a long decay but have a short (or non existent) 
predelay. 



diffuse: Another quality of reverb is its diffusion - i.e. how well the reflections 'smudge' 

together. Normally, the sound will bounce off the wall at exactly the angle it hits 
it. This normally gives rise to a smooth reverb decay. Some environments have 
many odd alcoves or corners and other 'acoustic obstructions' (i.e. a 
gymnasium with bars on the walls) which can cause the sound to bounce off at 
random angles and this can impart an 'echoey' quality to the sound where you 
can hear some of the individual reflections. The diffuse: parameter allows 
you to set the density of the reverb. Lower diffuse: settings will give a more 
'echoey' effect whilst higher setting will give a smoother effect. 

near: This affects the amount of 'agitation' the direct sound will have on the reverb 

decay and this has an effect on our perception of how close we are to the 
direct sound. High settings give the impression of being closer to the original 
sound whilst lower settings gives an enhanced sense of distance. 

LF danp: In some acoustic environments, the low frequencies die away more quickly. 

This control allows you to cut low frequencies from the reverb sound. This has 
the effect of making the reverb less 'boomy' and can be effective on bass 
instruments that you may be feeding through the reverb as it helps to 
'separate' the reverb from the main sound thereby making the source sound 
more distinct. 



Page 194 



S3200XL Operator's Manual - Version 1.00 



EFFECTS EDIT 



HF danp: As we saw in the delay section, as the sound echos so it normally gets 

progressively duller. The same is true of reverb. As the sound is bouncing all 
over the place, each time it hits a surface, that surface will absorb some high 
frequencies. If the room has a lot of furniture, curtains, drapes, cushions, 
whatever, the high frequencies are absorbed even more rapidly (which is why 
your living room doesn't have a pronounced reverberant quality). This has the 
effect of the reverb decay getting duller in tone as it dies away. It is very 
uncommon for a room to have absolutely no damping factor and LFDAMP and 
HFDAMP allow you to re-create this phenomena. 

If you are trying to simulate a heavily damped environment, set LFDAMP to 
10Hz (i.e. bypass) and lower the HFDAMP parameter. If you are trying to 
simulate a highly reflective environment, raise the HFDAMP parameter. To 
really emphasise the high frequency content (i.e. to simulate a tiled room), you 
may try raising the LFDAMP frequency. 



SOME TIPS ON USING REVERB 

Firstly, don't overdo it! One common mistake is to smother a sound in reverb. This just 
results in an indistinct, 'mushy' sound. A lot of reverb can be nice on slow, floating pads 
and strings, the musical content of which is fairly sedate but, generally, more reverb does 
not guarantee a better sound - often the reverse, in fact!. 

Be aware that using long reverbs on fast moving sounds (i.e. fast sequences or arpeggios) 
can cloud the music creating an indistinct 'blur' behind the music (unless the reverb is 
mixed quite a way back). A nice ROOM reverb on such parts is usually sufficient. If you can, 
tweak the decay time so that it doesn't hang over into adjacent notes too much. 

Small rooms and the like are good on bass sounds. You may also like to try setting the 
LFDAMP parameter so that only the high frequency content of the sound is reverberated. 
This will keep the 'straight' portion of bass end free for the bass to be heard clearly. Avoid 
long, boomy reverbs on bass parts as this will clutter up the bottom end of the music. 

To create more space between the reverb and the direct sound, set longer predelay times. 
This will allow the attack of the sound to be heard without 'smudging' it with reverb. For 
example, when applying reverb to a snare drum sound, a bit of predelay can help separate 
the direct snare sound from the reverb. 

To make a sound seem further away, send a lot of signal to the reverb and pull the level of 
the direct signal back a bit in the L/R outputs. To make a sound VERY distant, pull the 
direct sound out completely! 

When putting drum kits through the reverb, watch out for the hi-hat. Fast hi-hats through 
the reverb can make the overall mix very 'splashy' as the high frequencies get 
reverberated. If you get this problem, take the high hat out of the reverb altogether using 
the k ey group effect s oyer r i de: function in the drums program. 

With drum and percussion programs, use f/?e key group effects override: function 
to have more or less reverb on some drums than on others (for example, snares can take a 
lot of reverb but bass (kick) drums usually have less). The 
key group effects override: function allows you to send different drum sounds in a 
program to different effects types (for example, gated on the bass drum, large hall on the 
snare, medium hall on the toms, small room on selected percussion, etc.) although in a 
multi-timbral setup this will use up all available effects channels. 



S3200XL Operator's Manual - Version 1.00 



Page 195 



EFFECTS EDIT 



REVERSE REVERB 

So far, we have seen the parameters for the 'natural' reverb effects. There are, however, 
certain special reverb types which can also be selected in the TYPE parameter. If REVERSE is 
selected, you will see this screen: 



FX EDIT : REUERB 



type: REUERSE 
predelay: OOnS 
tine: 24 
diffuse: 99 



RU2: 



DIST EQ DDL 



HM1 El MSSSM S9S9 RE'J EfflH Haaa CBLD 



This has this effect on the sound: 



PRE-DELAY 




In this effect, the reverb decay of the sound is read out backwards. The parameters are: 

predelay: This sets the time before the reverse reverb will start sounding. 

t ine: This sets the length of the reverse reverb. 

diffuse: This has the effect of making the reverse sound more or less 'grainy' and 

'echoey'. 



Page 196 



S3200XL Operator's Manual - Version 1.00 



EFFECTS EDIT 



GATED REVERB 

Gated reverb is ordinary reverb that cuts off abruptly. It was discovered by Peter Gabriel and his 
enginerr Hugh Padgham when setting up a drum sound and some noise gates were still 
connected to some mixer channels that had reverb going through them. When the drum was 
hit, the reverb decay on these drums was being stopped dead by the noise gates creating a 
dramatic sound where there was just a short burst of reverb after the sound. With the careful 
adjustment of reverb decay time and noise gate parameters, he found you could add a very 
controllable amount of dynamic ambience around the sound where the drum has dense 
'space' around it but the reverb doesn't hang over into the next beat. The S3200XL's multi- 
effect processor offers two variations on this effect. With GATED selected, the screen looks 
like this: 



FH EDIT : REUERB 



type: GATED 1 
predelay: OOnS 
tine: 24 
diffuse: 99 



RU2: 



DIST EQ DDL 



EIMi m BSEI HSHD REU HUH BUSH dHH 



The first 'gated' reverb effect, GATED 1 , 'looks' like this: 

PRE-DELAY 




The initial sound is heard and then, after a time set by the PREDELAY parameter, a dense 
reverb sound is heard which cuts off abruptly. The parameters are: 

predelay: This sets the time before the gated reverb will start sounding. 

t ine: This sets the length of the gated reverb. 

diffuse: This has the effect of making the gated sound more or less 'grainy' and 

'echoey'. 

The other gated reverb effect (GATED 2) is essentially the same but the decay characteristics 
are slightly different. 



PRE-DELAY 




TIME 




Here, the decay is 'flatter' giving a more dramatic effect (albeit more artificial). 



S3200XL Operator's Manual - Version 1.00 



Page 197 



EFFECTS EDIT 



The parameters for GATED 2 are identical: 

predelay: This sets the time before the gated reverb will start sounding. 

t ine: This sets the length of the gated reverb. 

diffuse: This has the effect of making the gated sound more or less 'grainy' and 

'echoey'. 

Of course, GATED reverb is not only suitable for drums but can be used to add space to any 
sound. Try it on other percussion sounds such as congas or try it on rhythmic guitar parts or 
arpeggiated sequencer parts, etc.. Try it also with highly rhythmic keyboard parts. Generally, try 
to set the TIME control so that the sound has its own distinctive ambient space around it. 



Page 198 S3200XL Operator's Manual - Version 1.00 



EFFECTS EDIT 



EFFECTS OUTPUT SECTION 

The multi-effects section is laid out thus: 



DIST/EQ 



MODFX 



DELAY 



REVERB 



LVL PAN 

£H2£ 

LVL PAN 




LVL 



PAN 



L/ROUT 



You have control over the distortion/EQ section's level and pan, the modulation/echo 
section's output level and pan/balance and the reverb section's output level and pan/balance. 

These are made available on the FX PATH & OUTPUT page: 



FX PATH £ OUTPUT 



direct sig: OH 



path control: 

+00 
MOD^ECHO + REU 



FX2 = 
RU2 = 

dist^EQ: 

nod^echo: 

reverb: 



S DIST EQ DDL 
4 LARGE HALL 
LEU PAH UID 

EH MID 

00 MID 00 

00 MID 



HM1 m MSSSM HSHD tSMSM OUT \SSSi dLLI 



LEU sets the output level for the sections denoted to the left of the fields and PAH sets the pan 
position/balance of these effects. The UID (width) control sets the 'stereoness' of the 
MOD/ECHO effects. 00 sets that the effects will be mono (i.e. the left and right channel will be 
summed as a mono signal) and 99 sets that the output of this effects section will be stereo. 



NOTE: The UID control can be useful when you want to use a chorus type effect but don't 
want a wide stereo image. For example, you may wish to add chorus to a bass sound but you 
may not want this sound to spread over the stereo image and dominate the mix. In this case, 
set UID to 00 - this will give you the full effect of the chorus but will 'monofy' the effect so that it 
doesn't occupy a wide image in the stereo mix. 



S3200XL Operator's Manual - Version 1.00 



Page 199 



EFFECTS EDIT 



EFFECTS DIRECTION 

The path control: parameter allows you to set the flow or direction of the effects. Most 
multi -effects processors follow a 'traditional' path for the effects - i.e.: 



DIST/EQ 



MODFX 



ECHO 



REVERB 



However, there are times when you want to have the modulation and echo effects in parallel 
with each other or to be able chorus, flange or phase the reverb to add a shimmer or a 'swoosh' 
to the reverb decay. When using separate outboard effects processors, this is simply a matter 
of patching the effects in the order you want. Many multi-effects processors don't allow this, 
however, and you are limited to just one path as depicted above. 

The S3200XL's effects processor allows you to set the path of the effects with one simple 
control, the path control:. You may have mod/echo followed by reverb; you may have 
reverb followed by mod/echo or you may have mod/echo and reverb in parallel. 











MOD/ECHO 












' ll/F 








I 




RATI 1 


/ 










1 M 1 1 1 


ONTROL y< 


/ 


DIST/EQ 


— > 




0PATH C 


/ 












\ 








PA 1 H 




\ 






1 






REVERB 


, I UF 













When the path control: j s se t to 00, the mod/echo section and the reverb section feed the 
main left/right outputs in parallel. The display will show Nod/-echo + reverb. 

When set to +50, the output of the mod/echo section is fed into the reverb. The display will 
show rood/echo fr-reuerb. 

When set to -50, the output of the reverb is fed into the mod/echo section. The display will 
show nod/echo -*reuerb. 

You will note that as you change the path control parameter, the direction is shown beneath it: 



path control: 

+00 
MOD^ECHO + REU 



path control: 

+50 
MOD/ECHO ► REU 



path control: 

-50 
REU ► MOD/ECHO 



When set to values in between, this means that part of the signal is going to the reverb or the 
mod/echo section whilst also feeding the L/R outputs directly. For example, setting the 
path control: to +25 indicates that some of the mod/echo section is being fed to the reverb 
whilst also going direct to the L/R outputs. Similarly, a setting of -25 would send some reverb to 
the mod/echo section whilst some reverb is going direct to the main outputs. 



Page 200 



S3200XL Operator's Manual - Version 1.00 



EFFECTS EDIT 



Another way to picture the path control: \ s as follows: 



REV > MOD/ECHO 




MOD/ECHO > REV 



-50 



00 



+50 



At values of -01 to -50, more of the mod/echo section is fed to the reverb and setting of +01 to 
+50, more of the reverb is fed into the mod/echo section. 

As you can see, the path control: offers a great deal of flexibility in the way the effects chain 
is laid out with just one simple control. Normally, you will probably use a positive setting (i.e. 
flange followed by reverb) and +25 is a good setting for most occasions but, to change this 
direction (to flange the reverb, for example), simply set a negative value. 



NOTE: Of course, the PATH CONTROL & OUTPUTS screen only applies to the multi-effects 
channels FX1 and FX2. 

When editing RV3 or RV4, the OUTPUT screen looks like this: 



REUERB OUTPUT 



RU3 = 4 LARGE HALL 



reverb: 



LEU PAN 
00 MID 



HM1 El MSSSM HMIH E3B OUT [5333 D3LD 



You only have access to the level and pan/balance of the reverb, of course. 



S3200XL Operator's Manual - Version 1.00 



Page 201 



EFFECTS EDIT 



SOLOING THE CURRENT EFFECT 

There are times when editing the effects that you may want to hear the effect in isolation. For 
example, you may be setting up a reverb on one of the channels in a MULTI where several 
instruments are being fed to different effects but the other effects are clouding your 
judgement of the parameters you are settin g in the effect you are currently editing. To solo the 
current effects channel, simply press F8 - LSLLJ - this will mute the channels not currently 
selected for editing. Every page has this function so you may solo the current effect channel at 
any time. When pressed, it will show the current effects channel (i.e. FX1, FX2, RV3, RV4) 
depending on which one you are editing. Press it again to hear the other channels. 



Page 202 S3200XL Operator's Manual - Version 1 .00 



EFFECTS EDIT 



COPYING EFFECTS 

Sometimes, you may find an effects preset that is close to what you want but needs 'tweaking' 
You can, of course, edit the preset immediately but this may affect other sounds using this 
preset. For example, you may have a clean chorus/delay effect with reverb whcih is being used 
on a string pad sound but you want to u sethis same combination of effects on a guitar sound 
but add distortion and EQ. Pressing F7 \SSSU in any of the EFFECTS EDIT pages will show 



this screen: 



FX [ 



Fron: E9 XOUER DELAY 
To: 35 XOUER DELAY 

Fron: 4 LARGE HALL 
To: 4 LARGE HALL 
i — to CLIP — i .-from CLIP-! 

mn rgFn ifhtei ith~i it?pti in?Tm laBtn ici?f^ 



REUERE 



When you enter this screen, the currently selected effect will be shown in the From: field. You 
can change this if you like but it is more than likely you will be copying the currently selected 
effect to a new destination. To copy one effect to another, simply move the cursor to the To: 
field and select the effect you want to copy to (the effect name will be shown as you change 
the eff ect number). When you have selected an effect you are happy to overwrite, press F8 - 
ICPF7I. 

The effect selected in the From: field will be copied to the new destination, overwriting the 
effect shown in the To: field. It will also carry with it the association between the effect and that 
channel's reverb preset. However, if you wish, you may select another reverb preset if you 
wish. 

Let's see a practical example. You like effect preset 35, a crossover delay with a large hall 
reverb, and you want to copy it to another destination so that you can add some chorus or 
whatever. Move the cursor to the FX TO field and se lect an effect preset you are happy to 
overwrite (for example, effect preset 10). Press ICQFYI - XOVER DELAY will be copied to 10 
and effect 10 will have associated with it reverb preset 4, LARGE HALL. Now, when you select 
effect preset 10 it will be XOVER DELAY with LARGE HALL. You may now add the chorus or 
whatever it is you wish to change. 

You may also copy a reverb on its own. For example, you may want to copy reverb preset 4 
LARGE HALL to preset 7 to work on it there. Without changing anything in the FX FROM or TO 
fields, simply move the cursor to the REVERB TO field, select preset 7 and press ICOFYI 

COPYING EFFECTS BETWEEN DIFFERENT EFFECTS FILES 

There may be occasions where you have an effect in another effects file that you wish to use in 
the current effects file. To copy effects between different effects files, load the effects file that 
contains the effect you are interested in. Select that effect and, in the COPY page, use the 
to CLIP soft keys t o copy the selected effect to a 'clipboard' (a small bit of 'inv isible' memory in 
the sampler). Press I FH I to copy just the multi-effects section, press I REM I to copy just the 
reverb section and press IFMtRI to copy both the multi-effects section and its associated 
reverb. 

Next, load the effects file you wish to copy it to, select an effect that you are happy to ov erwrite 
in the To: field and use the f roro C LIPso ft keys to paste the effect into the effects file. I FM I 
will paste in just the effects portion, I REM I will paste in the reverb portion and, of course, IFfltRI 
will paste in both sections. 



S3200XL Operator's Manual - Version 1.00 Page 203 



EFFECTS EDIT 



NOTE: When editing RV3 or RV4, you may only copy reverb presets: 






IddUdslzHMdfll 




dciiitdd T From 4 LARGE HALL 
KLULKB L To: 4 LARGE HALL 
to CLIP fron CLIP 
IREYI IREUI ESffillCUFTl 



Page 204 



S3200XL Operator's Manual - Version 1.00 



SAVE 



SAVE MODE 

Once you have some sounds in memory that you have edited, you will no doubt want to save 
them for future retrieval. Pressing SAVE gives this screen: 



H-llJaMiBilUEl: laVi]=l=H!l :1: HOT 


NAMED 
P OX 


free blocks: 331 


STRINGS 1 


free entries: 34 


STRINGS 2 


P Q'K 


type of saue:- 


SLOU STRINGS 


P 0* 


EHTIRE VOLUME 


STRING C2 


S 5* 


progs: 3 sanps: 7 


STRING C3 


s ey. 


spue huh Em em 


BSi HH3B EHED CSDZI 



SELECTING FLOPPY OR HARD DISK 

lf the ?i!I£P-IJ-- l ? ot ^l^gdyon the field, move the cursor to the HiWMBMfflHas field and 
select HJH3383 or EziH'BlZI as appropriate using the DATA wheel. 

SELECTING THE HARD DISK PARTITION 

When a hard disk is formatted on the S3200XL, it is divided into sections called partitions (see 
later for details on formatting disks). This makes disk management slightly easier. Depending 
on the number of partitions on your disk, the partition is shown as a letter A - ? next to the 
HARD-: field. You can move the cursor one position to the right to select the partition you wish 
to save to. You will see something like this screen: 





>:Huol: NOT 


NAMED 
P OX 


SPUE TO [:•!£:«■: S3 


free blocks: 331 


STRINGS 1 


free entries: 34 


STRINGS 2 


P Q'K 


type of saue:- 


SLOU STRINGS 


P 0* 


EHTIRE VOLUME 


STRING C2 


S 5* 


progs: 3 sanps: 7 


STRING C3 


s ey. 


spue huh EMa em 


BSi HH3B EHED CSDZI 



Use the DATA wheel to make your selection. 

SELECTING THE HARD DISK VOLUME 

As well as being divided into partitions, each partition is divided into volumes. The volume is 
selected in the uol: field (in the above example, it shows that the volume is not named - see 
below for details on naming volumes). To select the volume, move the cursor to the uol: field 
and select using the DATA wheel. 

SELECTING THE TYPE OF SAVE 

The type of saue:- field allows you to select what it is you will save to disk (be it floppy or 
hard disk). To change the type of save you wish to perform, move the cursor to the 
type of saue:- field: 





}-: ft vol: HOT 


NAMED 
P OX 


SPUE TO DISKS WHS 


free blocks: 331 


STRINGS 1 


free entries: 34 


STRINGS 2 


P OX 


type of saue:- 


SLOU STRINGS 


P OX 


UihiMAflMUISIJ 


STRING C2 


S 5X 


progs: 3 sanps: 7 


STRING C3 


S 6X 


SflUE GHH IMS! EMM 


Hggi laiiasi hjtffi rsnn 



The options are: 
ENTIRE VOLUME 



This will save the entire contents of the memory to disk. This 
will include all programs, samples, the multi and effects file . 



S3200XL Operator's Manual - Version 1.00 



Page 205 



SAVE 



ALL PROGS+SAMPLES 
ALL PROGRAMS ONLY 

ALL SAMPLES 

CURSOR PROG+SAMPLES 
CURSOR ITEM ONLY 

OPERATING SYSTEM 
MULTI+PROGS+SAMPS 



This will save all programs and samples only. The MULTI and 
any effects files will be ignored and not saved. 

This will save all the programs in memory but will not save the 
samples associated with them. This is useful if you have made 
any changes to one or more programs but you have not 
edited any samples. 

This will save all the samples currently in memory. This is 
useful if you have just had an extensive sample editing 
session. 

This will save the selected program and its associated samples 
only. This is useful when you make a small edit to a program. 

This will save the selected individual item be it a program, a 
sample or a multi. You may also save effects files, ME-35T 
Drum settings, D-D SONG files (called TL's - take lists) and 
Qlists. 

You may save the current operating system to disk (more on 
this later). 

This will save the multi plus its associated programs and their 
associated samples. It will also save the effects file. 



NOTE: If you have programs in memory that you call up in the multi via program change 
commands in the sequence (for example, you use MIDI program change to change the 
acoustic piano sound used in the verse to an electric piano sound in the chorus), those 
programs which are not currently in the multi at the time of saving will not be saved. Your 
attention is brought to this as you may save a multi and then wonder why it is not playing back 
correctly when you subsequently re-load it If you do have programs in memory for selection via 
the sequencer's MIDI program change, use SAVE ENTIRE VOLUME. 



Page 206 



S3200XL Operator's Manual - Version 1.00 



SAVE 



SAVING TO FLOPPY DISK 

In the main SAVE page, select the media you wish to save to (i.e. floppy). You will see 
something like this screen: 



H-llJaMiBilUEl: laVi]=l=H!l :1: HOT 


NAMED 
P OX 


free blocks: 331 


STRINGS 1 


free entries: 34 


STRINGS 2 


P Q'K 


type of saue:- 


SLOU STRINGS 


P 0* 


EHTIRE VOLUME 


STRING C2 


S 5* 


progs: 3 sanps: 7 


STRING C3 


s ey. 


spue huh Em em 


BSi HH3B EHED CSDZI 



Now make your selection in the type of saue:- field by moving the cursor to this field and 
use the DATA wheel to make your selection. Now, either press WIPE or GO as you wish. WIPE 
will first erase the disk completely (BE CAREFUL!!) and then save the file(s). You will receive 
the following prompt: 



1 progs: 3 sanps: 7 I STRING C3 


S 6*1 


I WIPE DISK UOL./SflUE?? confirn HO 


YES | 



You should press F7 or F8 as appropriate. 

GO will simply save the file(s) without erasing the disk first. 

If no floppy disk is in the drive, you will be prompted accordingly. Similarly, if the floppy disk is 
write protected, the S3200XL will inform you. 



NOTES ABOUT SAVING TO FLOPPY DISK 

An unexpanded S3200XL is capable of holding more data than will fit onto a single MF2DD or 
MF2HD disk. If you try to save an entire volume with many programs and samples, you will have 
to use more than one disk. However, the S3200XL will prompt you accordingly, prompting you 
to insert new disks as necessary. 

You cannot save continuous samples across more than one floppy disk. For example, if you 
have a 24 second sample and try to save it, it cannot store part of that sample on one disk and 
part on another. If you are using long samples like this, we recommend you invest in a hard 
disk. 



S3200XL Operator's Manual - Version 1.00 



Page 207 



SAVE 



SAVING TO HARD DISK 

In the main SAVE page, select the media you wish to save to (i.e. hard disk). You will see 
something like this screen: 



H-lUaBMilHSI: IHraiuoli NOT 


NAMED 


free blocks: 331 


STRINGS 1 


P 0* 


free entries: 34 


STRINGS 2 


P 0* 


type of saue:- 


SLOU STRINGS 


P 0* 


EHTIRE VOLUME 


STRING C2 


S 5* 


progs: 3 sanps: 7 


STRING C3 


s ey. 


spue mas EMa ca 


1 BSi HH3B EHED CSDZI 



To select the partition to save to, place the cursor on the partition field and use the DATA 
wheel to select the partition. Now move the cursor to the uol: field and select the volume you 
wish to save to. 



NOTE: You may, if you wish, press F2 - 
and select a volume to save to 



- to see a list of the selected partition volumes 



UIiMIJilabSiliailHSI lil-lsliBJ-l 


STRINGS 1 


free nenory: 331 


STRINGS 2 


free P^K^S: 34 


U0LUME003 




SYH BRASS 


Disk Uolunes: 24 


005 INACTIVE 




Baaa i - | ols isaai isaa tasai uasai p--k--s 



You may scroll through the list of available volumes on the current partition. If the volumes have 
been named, you will see the names of the volumes otherwise, the volume name will show 
VOLUME ??? where ? is the default, unnamed volume number (it is good practice to name 
volumes to keep better track of things when loading - see below for information on naming 
volumes). 

When you have selected the one you wish to save to, press F1 - E3HS13 - which will take you to 
the main SA VE screen for the selected volume. 



Move the cursor to the type of saue:- field and use the DATA wheel to make your 
selection from the options listed above. Now, either press WIPE or GO as you wish. WIPE will 
first erase the hard disk volume completely (BE CAREFUL!!) and then save the file(s). You will 
receive the following prompt: 



progs: 3 sanps: 7 I STRING C3 



S 6 a s. 



IUIFE DISK UQL./SAUE?? confirm HO YES | 

You should press F7 or F8 as appropriate. 

GO will simply save the file(s) without erasing the volume first. 

If, for some reason, there is a problem with the hard disk (i.e. it is not connected or not switched 
on or, if it's a removable medium of some sort and the disk/cartridge is not inserted or write 
protected), you will receive the message: 



1 progs: 3 sanps: 7 | STRING C3 


S 


6X\ 


| HARD DISK DRIUE HOT REfiDY ! ! | 



You will also receive this message if you try to save to a CD-ROM which, of course, is a read- 
only medium. 



Page 208 



S3200XL Operator's Manual - Version 1.00 



SAVE 



NOTE: You will also receive this message when you select KS^BM^under the same 
circumstances. 



Setting SCSI ID's, etc., is discussed later in this section. 



S3200XL Operator's Manual - Version 1.00 



Page 209 



SAVE 



RENAMING FI LES 

Pressing F3 (EMU) takes you to the RENAME page. In the rename page, you can rename 
individual files on disk, or rename a volume on disk (a floppy disk can contain only one volume, 
but a hard disk can contain many volumes). To name/rename a floppy disk, insert the disk 
which contains data to be renamed. To name a hard disk volume, select the partition and the 
volume to be renamed. To rename files, eit her inse rt the appropriate floppy disk or select the 
appropriate hard disk volume. Now press the EMU key to enter a new name. You will receive 
this screen display: 



l:W!f:1SI=Bi1!lil*-ia: IdVil^'J!! uol: NOT 


NAMED 
P 0*. 


new nane:- 


STRINGS 1 


NEU NAME 


STRINGS 2 


P (&. 


vol load number: 


SLOU STRINGS 


p or. 


vol load enable:OFF 


STRING C2 


S 5* 


rename UOL or FILE 


STRING C3 


S 6*. 


B38BEHB REN Egg 


E«3i Hnaa runn rprm 



or this if you are using a hard disk: 



Ir-lslir-lilsMiaaHSI: ir-lElS 1 uol: uoLLlh- 


E 021 
P OX 


new name:- 


STRINGS 1 


HEU NAME 


STRINGS 2 


P 0* 


uol load number:OFF 


SLOU STRINGS 


P Q's. 


uol load enable:OFF 


STRING C2 


S 5* 


rename UOL or FILE 


STRING C3 


S 6 m s. 


BasaEHH REM Egg 


B^i HH3B EDO EIED 



To enter the name, press the NAME key and type in a suitable name of up to 12 characters. 
You may enter numbers from the numeric keypad by pressing NAME again and you may toggle 
between the numeric keypad's letters or numbers simply by pressing the NAME key. You will 
get a screen display something like this: 



EMffiEMMSEa: HUHSE] >,->oi: not named 



new name:- 
HEIJ NAME 



: 



uol load number: 
uol load enable:OFF 
rename UOL or FILE 



STRINGS 1 
STRINGS 2 
SLOU STRINGS 
STRING C2 
STRING C3 



P 
P 
P 
S 
S 






LETTERS 



<NflME for numbers ENT to exiO 



When you have entered the new name, press ENT and then press l UOL I to renam e the hard 
disk volume or floppy disk or highlight a file with the CURSOR keys and press E1LEI to rename 
the highlighted file. 



NOTE: It is good practice to name hard disk volumes as it makes life much easier when you 
come to load them later. Give the volume a sensible name like ORCH STRINGS or POP 
BRASS#1 so that volumes can be easily recognised when you come to load them. If you think 
of these volumes as PC directories or Mac™ folders, you will understand the importance of 
good naming practices as it makes loading so much easier. 



With a hard disk fitted, MIDI Program Change messages may be used to load volumes. Use the 
uol load number: parameter on this page to assign a number from 1 to 128 for the current 
volume. Once set, you may turn this on and off freely in the uol load enable: field. On 
receipt of a Program Change message, the S3200XL will scan all the hard disk volumes for a 
number set in this page which corresponds to the Program Change number in the MIDI 
message. The volume will then be loaded (the currently selected program number will change 
to 1 and program number 1 of the volume which has just been loaded will be selected). 



Page 210 



S3200XL Operator's Manual - Version 1.00 



SAVE 



NOTE: To rename a disk or a file on a floppy disk, removable cartridge or Magneto Optical disk, 
write-protection must be off. 



At any time, press F1 - SAVE - to return to the main SAVE screen. 

DELETING ITE MS F ROM DISK 

Pressing the EMH key displays this screen: 



IBawaiia disk : HMB33E1 wo l: HOT NAMED 



free blocks: 1399 
free entries: 905 
type of delete: 
CURSOR ITEM ONLY 
progs: 15 sarops: 62 



STRINGS 1 
STRINGS 2 
SLOU STRINGS 



STRING C2 



STRING C3 



P 
P 
P 
S 
S 



0* 

Q m s. 
5* 
6* 



Emma DUBB Egg del tawailgiiaBl 



□SEI 



You can delete a file (or files) from a floppy disk or hard disk. If you have a hard disk fitted, 
select the volume using the parameter field on the first line. There are a number of options that 
you can pick to determine what file(s) will be deleted. 



CURSOR ITEM ONLY 

ALL PROGRAMS ONLY 
ALL SAMPLES 
ENTIRE VOLUME 
OPERATING SYSTEM 



As its name suggests, deletes only that file which is 
highlighted by the cursor. 

This deletes all programs, but not their associated samples. 

This deletes all samples on the current volume. 

This is the most drastic, erasing all data on the volume. 

This removes the operating system from the volume. 



NOTE: In order to delete a file or files from a floppy disk, removable cartridge or Magneto 
Optical disk, write-protection must be off, of course. 



At any time, press F1 - SAVE - to return to the main SAVE screen. 



S3200XL Operator's Manual - Version 1.00 



Page 211 



SAVE 



HARD DISK CONTROL 

SCSI (Small Computer Serial Interface) has become very popular as a means of interfacing 
devices and because a SCSI interface is fitted as standard on the S3200XL, you may use a 
wide range of hard disks as a storage device for your sound library. Hard disks offer more in the 
way of size and also speed. More recently, the removable cartridge types of storage devices 
have become increasingly popular. The problem with fixed drives is that when they fill up you 
either have to delete files (or back them up to floppy or DAT) or you need to buy another drive. 
With the removable types, you simply insert another cartridge. 



Your hard disk is controlled from the 



pressed, the following screen display is seen: 



page of the SAVE mode. When 



(F5) is 



HARD DISK CONTROL 



SCSI driue ID: 5 
local SCSI ID: 6 
SCSI driue sector size: 512b 

MO driue/ fan: OH 

BBIIg EBB EiM EMM scsi HB3fl 



The parameters on this page are used to set SCSI ID's. The most important parameters you 
need to know about are SCSI driue ID: and SCSI driue sector size:. 

SCSI allows up to 8 devices to be on the buss and these each have a unique number 0-7 (it's 
similar to the concept of MIDI channels). In order for one SCSI device to 'talk' to a hard drive, 
their SCSI ID's must match. The SCSI driue ID: field sets the SCSI ID for the sampler's 
SCSI interface. The default setting in the SCSI driue ID: field is 5. This parameter must be 
set to match that of the drive. For example, if your external drive is 1 , this parameter must be set 
to 1. You may, if you wish, have several drives connected and each of these must have 
different SCSI ID's. Each one can be selected by changing the ID number in the 
SCSI driue ID: field. 

The SCSI dr iue sector size: field allows you to switch between the different MO formats 
of disk. There are two - 512Bytes per sector and IkByte per sector. Both offer the same 
storage, they just have different sector sizes. The S3200XL can use both and this is selected 
in this field. The default is 512b. 

The local SCSI ID: field sets the S3200XL's SCSI ID (as distinct from the sampler's SCSI 
interface's ID) and is used when communicating between samplers or computer editors over 
SCSI. 



NOTE: If your external drive's ID is something other than 5 and uses a IkBytes/sector disk, you 
may set the appropriate settings here and, by saving the operating system to floppy disk and 
powering up with it in the drive, the S3200XL will default to the SCSI ID and sector size of your 
drive. 



If you have the optional SONY HS-D650 3.5 inch magneto optical drive fitted internally in the 
S3200XL, the MO driue: field allows you to turn this off in software. Three options are 
available. The first is OH which leaves the MO drive operating at all times. However, because 
the drive can be noisy due to the fans required for cooling, when not in use, you may like to 
turn it off. This can be done in two ways. Firsly, you may set this parameter to AUTO which will 
turn the MO drive off as soon as you attempt to make a smple in the REC page of SAMPLE. In 
this way, the noise of hte driver's fan will not spill over into your smple if you are using a 
microphone in the same room sa your S3200XL. As soon as the smple has been recorded, the 
drive switches back on immediately. The other option is OFF which, as the function implies, 
turns the drive off completely. Please note that this does not apply to external MO drives that 
may be connected. 



Page 212 



S3200XL Operator's Manual - Version 1.00 



SAVE 



FORMATTING A FLOPPY DISK 

Before a floppy disk can be used with th e S320 0XL, it must be formatted. To format a floppy 
disk, insert the disk in the drive, and press HH39. You will see this screen display: 



FORMAT FLOPPY OR HARD DISH 



track: 
side: 



BLOCKS 
good: 
bad: 



: HESiH 

HARD PARTITIONS 
size: 60 Mb 
max: 1 



floppy format density: HS U tSTARTt 

@asa mas emm emh e=e=h form ifufri rnRRi 



There are two types of floppy disk available - DD (double density) or HD (high density). The 
higher capacity HD disks are recommended. You may select which type of disk you are 
formatting in the floppy format density: field where you may select LOW or HIGH. 



NOTE: The fields size: and wax: have no function when formatting floppy disks - these are 
only used when formatting hard disks (see below). 



To for mat the floppy disk, select FLOPPY at the top of the screen if it isn't already selected and 
press IFQRMI You will see: 



| formatting disk HIGH DENSITY. 



j 



or 



| formatting disk LOU DENSITY. ■ ■ | 

Depending on the type of disk you are using (i.e. DD or HD), the process will take about a 
minute and the track and side number of the disk will be displayed as the operation proceeds. 
When the operation is complete you should receive the following display: 



FORMAT FLOPPY OR HARD DISK 



HESSa 

BLOCKS HARD PARTITIONS 
track: good: size: 60 Mb 
side: bad: nax: 1 
DISK IS READY FOR USE 
floppy format density: BBH tSTARTt 

@sna hhh emu em e=e=o form ifokfii ebeeh 



This indicates that the disk has formatted correctly and is safe to use. If you get an indication 
that there are bad blocks, the disk may be unreliable. The S3200XL will inform you of this. If 
you do receive such a message, you may like to try again but it usually means that the disk has 
become seriously damaged in some way. This is unlikely to happen on brand new disks but 
may happen on floppy disks that are being re-used, especially if they have been used before 
on another system. 



Formatting a disk will permanently remove all data previously recorded on it. 

Only format new floppy disks or ones which contain data that you are sure 

you don't need any more. 

If you have a hard disk connected as well, be especially careful to select 

FLOPPY!! 



S3200XL Operator's Manual - Version 1.00 



Page 213 



SAVE 



The I RRR I key is used as a quick format for changing the size of the directory of disks 
formatted on an S1000 or S1100 (please see below - NOTES ON USING S1000 AND S1100 
SOUND LIBRARY). 

Usually, you must use IFQRP1I to format a new disk for use in the S3200XL. Trying I RRR I on an 
un-formatted disk will display the prompt: 

| cant quick -format this disk ! I 

You should useEJEED. 



Page 214 S3200XL Operator's Manual - Version 1.00 



SAVE 



FORMATTING A HARD DISK 

Hard disks can and should also be formatted before use. The maximum size of hard disk which 
can be formatted and used with the S3200XL is 51 OMbytes. If any larger hard disk is attached 
to the S3200XL, data above this size will not be recognised or used. Switching to ■■IZIH'BI 
will display this screen: 



FORMAT FLOPPY OR HARD DISH 



track: 
side: 



BLOCKS 
good: 
bad: 



HARD PARTITIONS 
size: 60 Mb 
Fiax: 1 



floppy fornat density: BUM rSTARTi 

BSfflg EBB EiM EMM E=B=fl form iformi i arr i 



For convenience, large hard disks are split into partitions, which are named A, B, C, etc.. All 
partitions must be the same size, which you can select with the HARD PARTITIONS size: 
parameter to be variable between 1 and 60Mbytes. The last partition on a hard disk takes up all 
the remaining space on the disk (i.e. on a 120Mbyte disk divided into 50Mb partitions, A and B 
will both be 50Mbytes, and C will be 20Mbytes). 

A further field on this page is the max: field. This allows you to set the number of partitions you 
wish to create and this is included for the disk recording functions. For example, if you have 
300Mb hard disk, you may set it to have 4 x 50 megabyte partitions by setting 50 and 4 
respectively in the size: and max: fields. This would leave 100Mb free for disk recording 
giving you 10 minutes of stereo recording at 44.1kHz. In this way, one disk may hold not only 
sound library but disk recordings as well. This is explained later in this manual in the section that 
explains the disk recording functions. If you intend to do this, it is best to check this before 
formatting your hard disk - formatting it later in order to use the disk recording functions will 
erase any sound library you may have already saved. 



[ 



BE VERY CAREFUL TO CHOOSE THE CORRECT SCSI ID!! 



] 



To format the hard disk, press either IFQRMI or [RRR I depending on the action you want to 
take. You will receive the following safeguard prompt: 

I FQRMat or ARRange hard disk:-» rSTARTi I 
DESTROY ALL HARD DISK DATA ?? HO YES 



Answer NO if you have second thoughts, otherwise answer YES. 

| FORMATTING AND ARRANGING WILL DESTROY ALL DATA ON THE DISK!! | 

Arranging is a faster operation than a full format (it simply initialises directories into a format 
suitable for use by the S3200XL). Make sure that there is no data which is only stored on the 
hard disk which you want to keep. 

Formatting will take a few minutes, followed by the arrange process. Bad blocks will be 
automatically 'swapped out' in a verification procedure. You can bypass this verification 
process by pressing SKIP, but it is suggested that you let it run its course as it will end up safer 
in the long run. 



S3200XL Operator's Manual - Version 1.00 



Page 215 



SAVE 



If the drive is n ot conn e cted or the SCSI ID's don't match, you might receive the message 
when you press EJEH1 or CBEEH: 



or it may say: 



| waiting for hard disk ready. ■ SKIP I 



| HARD DISK DRIUE HOT READY ! 



Please check your SCSI cables and that the drive is switched on (it does happen!). Also, 
please check the SCSI ID settings of both the drive and the S3200XL. You will also get this 
message if a removable type of hard disk is being used and the disk is not inserted in the drive. 

NOTES ON USING EXISTING S1000/S1100 SOUND LIBRARY 

The S3200XL allows 510 items to be saved on a floppy or hard disk. On the S1000 and 
S1100, 64 items could be stored on floppy and 100 on a hard disk volume. As a result, the 
whole format of the directories is completely different. 

S1000 and S1 100 disks can, of course, be loaded with no problem. However, if you try to save 
to a disk that was formatted on an S1000 or S1100, because the disk directory has now 
chang ed, the S1 000/1 100 disk has to be reformatted. When you perf orm a save, if you use 
IUIFEI, this process is done automatically for you. If, however, you use I SO I instead of wipe, 
the S3200XL will remind you: 

| re-format or arrange before writing ! | 

You may eit her specifically go through the formatting procedure yourself or you may simply 
press HJTFEl 

The same is true of hard disk volumes. Simply using the I GO I key when you try to save to a 
hard disk volume that was originally formatted using an S1000 or S1100, will cause this 
message to be displayed: 

| Must kill Slflflfl uolune before writing ! | 

This is saying that th is volu mes directory needs to be re-written in the S3200XL format. To do 
this, you should use IUIFEI - this will automatically rewrite the directory. After this, you may use 
the volumes as normal. 



WARNING! 

WHEN USING A HARD DISK, THE ACTION OF KILLING A VOLUME APPLIES 
ONLY TO THAT VOLUME. THIS IS N OT A FULL FORMATTING PROCEDURE. 
WHEN YOU SEE THE PROMPT, USE HJTFFl - DO NOT FORMAT YOUR HARD 
DISK AS THIS WILL ERASE EVERYTHING ON IT. 



If you are at all apprehensive about 'killing' the hard disk volume, save to another empty 
volume. 



Page 216 S3200XL Operator's Manual - Version 1.00 



LOAD 



LOAD MODE 

The LOAD mode allows you to load data into the S3200XL. The main LOAD page looks 
something like this: 



MiT-l»S±MSa»lH5l: laHildi 1 uol: NOT NAMED 


free nenory: 100K 


STRINGS 1 P OK 


free P/K/S: 1012 


STRINGS 2 P OK 


type of loed:- 


SLOU STRINGS P 0* 


ENTIRE VOLUME 


STRING C2 S 5* 


progs: 3 sanps: 7 


STRING C3 S 6K 


load mare Hd3 iEES 


Egsfl iron risen 



A list of all files (programs, samples and drum settings) will be displayed on the right side of the 
page. Programs have a 'P' beside their name, samples have an 'S', and drum input settings 
have a 'D'. Effects files have an 'X' beside them. Floppy disks or hard disk volumes that contain 
S1 000 or S1 1 00 samples will have a '1 ' after these letters to signify they are from this series of 
sampler. They may be freely loaded into the S3200XL without any problems. 

Beside the type of file on the disk, there is also a percentage number along side it, which gives 
the amount of space that this file will take when loaded into memory. Programs and effects files 
will usually show 0%. 

The left hand side of the display shows you how many programs, keygroups and samples are 
free in memory (you may have a total of 1 ,022 Items') and at the bottom it displays how many 
programs and samples are currently on the disk. 

If you cannot see the file you want to load, move the cursor to the list of files and scroll up and 
down to display all the files on the disk. If the file you want is not on the disk, insert another disk 
and press LOAD to re-read the disk. If you have a hard disk fitted, then you can choose 
another volume to read. When you know that you have the right disk or volume, you can 
proceed. 

SELECTING FLOPPY OR HARD DISK „„„ 

lf the ci£^r is n ot already on the field, move the cursor to the HH5ffl331IM3B3 ' field and 
select HJH3383 or EEBfflH as appropriate using the DATA wheel. 

SELECTING THE HARD DISK PARTITION 

When a hard disk is formatted on the S3200XL, it is divided into sections called partitions (see 
SAVE - FORMATTING for details on formatting disks). This makes disk management slightly 
easier. Depending on the number of partitions on your disk, the partition is shown as a number 
A - ? next to the HARD-: field. You can move the cursor one position to the right to select the 
partition you wish to load from. You will see something like this screen: 







IKiT-lflalrUiSlilidSI: HORD-iKl uol: NOT NOMED 


free nenory: 100K 


STRINGS 1 P 0* 


free P/K/S: 1012 


STRINGS 2 P OK 


type of loed:- 


SLOU STRINGS P OK 


ENTIRE VOLUME 


STRING C2 S 5K 


progs: 3 sanps: 7 


STRING C3 S 6K 


load mare Hd3 H5S=3 


Egsfl iron risen 



Use the DATA wheel to make your selection. Note that there will be a slight delay after 
choosing a partition while the partition is selected and read by the S3200XL. One partition on a 
hard disk can contain up to 100 volumes and each volume can contain up to 510 'items' - that 
is, combinations of programs, samples, effects files, Qlists, etc., and you can select the volume 
from which you want to load data in the next parameter field - vols. 



S3200XL Operator's Manual - Version 1.00 



Page 217 



LOAD 



SELECTING THE HARD DISK VOLUME 

As well as being divided into partitions, each partition is divided into volumes. The volume is 
selected in the uol: field (in the above example, it shows that the volume is not named - see 
later for details on naming volumes). To select the volume, move the cursor to the uol: field 
and select using the DATA wheel. 

SELECTING THE TYPE OF LOAD 

The type of l osd:- field allows you to select what it is you will load from disk (be it floppy or 
hard disk). To change the type of load you wish to perform, move the cursor to the 
type of loed:- field: 



LOAD FRON DISK 



HARD-: A uol: HOT NAMED 



free nenory: lQQ's. 
free P/K/S: 1012 
type of load:- 



ENTIRE VOLUME 



progs: 3 sanps: 



STRINGS 1 P 0* 

STRINGS 2 P 0^ 

SLOU STRINGS P 0* 

STRING C2 S 5* 

STRING C3 S 6* 



load HHH HEG3 IEE3 E=S=0 



rmnmn 



The options are: 
ENTIRE VOLUME 

ALL PROGS+SAMPLES 

ALL PROGRAMS ONLY 

ALL SAMPLES 

CURSOR PROG+SAMPLES 

CURSOR ITEM ONLY 

OPERATING SYSTEM 
MULTI+PROGS+SAMPS 



This will load the entire contents of the disk to memory. This 
will include all programs, samples, the multi and effects file. 

This will load all programs and samples only. The MULTI and 
any effects files will be ignored and not loaded. 

This will load all the programs on disk but will not load the 
samples associated with them. 

This will load all the samples currently on disk 

This will load the selected program and its associated samples 
only. 

This will load the selected individual item be it a program, a 
sample or a multi. You may also load effects files. You may also 
load ME-35T Drum settings, D-D SONG files (called TL's - take 
lists) and Qlists 

This will load any operating system that may be on the disk. 

This will load the selected multi plus its associated programs 
and their associated samples. It will also load the effects file. 



NOTE: If you have programs in memory that you call up in the multi via program change 
commands in the sequence (for example, you use MIDI program change to change the 
acoustic piano sound used in the verse to an electric piano sound in the chorus), those 
programs which are not currently in the multi at the time of saving will not be loaded. Your 
attention is brought to this as you may load a multi and then wonder why it is not playing back 
correctly . If you do have programs in memory for selection via the sequencer's MIDI program 
change, use LOAD ENTIRE VOLUME. 



Page 218 



S3200XL Operator's Manual - Version 1.00 



LOAD 



LOADING FROM FLOPPY DISK 

In the main LOAD page, select the media you wish to load from (i.e. floppy). You will see 
something like this screen: 



MiT-l»S±MSa»lH5l: laHildi 1 uol: NOT NAMED 


free Memory: 1QQ¥. 


STRINGS 1 P 0* 


free P/K/S: 1012 


STRINGS 2 P O'y. 


type of loed:- 


SLOU STRINGS P 0* 


ENTIRE VOLUME 


STRING C2 S 5* 


progs: 3 sanps: 7 


STRING C3 S 6 m s. 


load mare Hd3 iEES 


Egsfl iron risen 



Now make your selection in the type of l oad:- field by moving the cursor to this field and 
use the DATA w heel to make your selection. Now, either press CLR or GO as you wish. 
Pressing I CLR I (CLEAR) will delete all programs and samples from memory, and then load the 
chosen file(s) from disk(BE CAREFUL NOT TO ERASE ANYTHING YOU WANT TO KEEP 
THAT HASN'T BEEN SAVED TO DISK!!). You will receive this prompt to check you want to 
clear the memory: 



I STRING C3 



S 6K 



CLEAR MEM THEN LOAD ?? confirm NO YES 



You should make the appropriate NO or YES response. 



Pressing I GO I will load the chosen file(s) into memory without deleting anything first. As the 
disk is being loaded you will receive something like the following display to keep you aware of 
progress: 



I STRING C3 



S 6 a s. 



loading sample:- STRING C2 



It is possible that the chosen file(s) will occupy more memory space than is actually available, in 
which case the loading process will be halted and you will receive this prompt: 



I STRING C3 



S 6K 



| !! Insufficient ua^eforn nenory!! I 

Any files which have been completely loaded into memory prior to the prompt will remain in 
memory, however. 

If no floppy disk is in the drive, you will be prompted: 

| NO DISK ! | 



If the disk is un-formatted (or has become seriously damaged in some way) the S3200 will tell 
you: 



| UNREADABLE FORMAT ! or unformatted? 
You should format the disk (see SAVE - FORMATTING). 



S3200XL Operator's Manual - Version 1.00 



Page 219 



LOAD 



LOADING FROM HARD DISK 

In the main LOAD page, select the media you wish to load from (i.e. hard disk). You will see 
something like this screen: 





fflH '...-.:. l: HOT NAMED 


LOAD FROM DISKBHAR 


free memory: 1QQ¥. 


STRINGS 1 P 0* 


free P/K/S: 1012 


STRINGS 2 P O'y. 


type of load:- 


SLOU STRINGS P 0* 


EHTIRE VOLUME 


STRING C2 S 5* 


progs: 3 samps: 7 


STRING C3 S 6 m s. 


load mare Hd3 IEEE 


IE=B=fl iron risen 



To select the partition to load from, place the cursor on the partition field and use the DATA 
wheel to select the partition. Now move the cursor to the uol: field and select the volume you 
wish to load from. 



NOTE: You may, if you wish, press F2 - 
and select a volume to load from: 



- to see a list of the selected partition volumes 



STRINGS 1 


free memory: 100^ 


STRINGS 2 


freeP^-K/S: 1020 


UOLUME 003 




SYN BRASS 


Disk Uolumes: 24 


005 INACTIVE 




HUSH uols HUH OSeH E=E=0 



You may scroll through the list of available volumes on the current partition. If the volumes have 
been named, you will see the names of the volumes (otherwise, the volume name will show 
VOLUME ??? where ? is the default, unnamed volume number (it is good practice to name 
volumes to keep better track of things when loading - see SA VE - RENAME for information on 
naming volumes). 



When you have selected the one you wish to load from, press F1 - WSSS 
to the main LOAD screen for the selected volume. 



which will take you 



In the main LOAD page, move the cursor to the type of load:- field and use the DATA 
wheel to make your select ion from the options listed above. Now, either press CLR or GO as 
you wish. Pressing I CLR I (CLEAR) will delete all programs and samples from memory, and 
then load the chosen file(s) from disk (BE CAREFUL NOT TO ERASE ANYTHING YOU WANT 
TO KEEP THAT HASN'T BEEN SAVED TO DISK!!). You will receive this prompt to check you 
want to clear the memory: 



I STRING C3 



S 6K 



CLEAR MEM THEN LOAD ?? confirm NO YES 



You should make the appropriate NO or YES response. Pressing I SQ I will load the chosen 
file(s) into memory without deleting anything first. As the disk is being loaded you will receive 
something like the following display to keep you aware of progress: 



I STRING C3 



loading sample:- STRING C2 



S 6X 



Page 220 



S3200XL Operator's Manual - Version 1.00 



LOAD 



It is possible that the chosen file(s) will occupy more memory space than is actually available, in 
which case the loading process will be halted and you will receive this prompt: 



I STRING C3 S 6 a s. 



| !! Insufficient waveform memory!! I 

Any files which have been completely loaded into memory prior to the prompt will remain in 
memory, however. 

Even if a file exists in memory with the same name as a file on disk, the disk file will still be 
loaded and the file in memory will be overwritten. 

If, for some reason, there is a problem with the hard disk (i.e. it is not connected or not switched 
on or, if it's a removable medium of some sort and the disk/cartridge is not inserted or write 
protected), you will receive the message: 

progs: 3 samps: 7 | STRING C3 S 6's. 



HARD DISK DRIUE HOT READY ! ! 

If the disk is un-formatted (or has become seriously damaged in some way) the S3200XL will 
tell you: 

| UNREADABLE FORMAT ! or unformatted? | 



NOTE: You will also receive this message when you select MSSEHBMSlunder the same 
circumstances. 



SCSI ID's, etc., are explained a bit later in this section. 



S3200XL Operator's Manual - Version 1.00 Page 221 



LOAD 



LOADING S900/S950 SAMPLES AND PROGRAMS 

No special command is provided for S900 samples. Inserting an S900 disk will give you this 
display: 

| S900 DISK ! use only for reading I 

Simply select the appropriate load type and proceed as above. The S3200XL display will 
inform you when a sample for the S900 is being read, and after each S900 sample has been 
successfully read, an additional message, 'unscrambling S900 sample' will appear, as the 
S3200XL converts the S900 data to S3200XL format (12-bit to 16-bit). 

LOADING S1000/S1100 DATA 

There is no compatibility issue with sounds created on an S1000 or S1 100 and these can be 
loaded with no conversion process. However, there are notes given in the SAVE MODE 
section that give details about saving such data from the S3200XL back onto an S1000/S1 100 
formatted disk should you wish to do so. 

AUTO LOADING FROM DISK 

If you turn on the S3200XL with a floppy disk in the drive, the contents of the disk will be 
loaded into memory. If the disk contains a copy of the operating system and this operating 
system is the same or a higher version number than the ROM version, this will be loaded. 

If a hard disk is attached and set to SCSI ID 5 and the operating system is on the first volume, 
the operating system will be automatically loaded from this if it is the same or a higher version 
than the ROM version and no floppy disk is in the drive at power-on. 

It is a good idea for you to make a copy of any Operating System disks for your S3200XL and 
always turn on the S3200XL with the latest version inserted in the floppy disk drive (see SAVE 
for details on saving operating system to disk). 



Page 222 S3200XL Operator's Manual - Version 1 .00 



LOAD 



SEARCHING FOR FILES - USING THE FIND FUNCTION 

Because of the large amo unt of d ata on hard disks, a special 'find' function exists to locate files 
more rapidly. Pressing the IM1SU9 key will display this screen: 



FIND FROM DIS 



Find: NAME 



HARD-: A 



CLR /GO to load:- 
ALL PROSS+SAMPLES 



G. PIANO MONO P 0* 

CI 6R PIANO S 2* 

El 6R PIANO S 3* 

61 6R PIANO S 2* 

C2 6R PIANO S 2* 



nasa hhh find wflcg e=b=h ifthpi itcri ran 



To locate the file you want, pre ss NAM E and then enter a suitable name and press ENT/PLAY. 
To search for the file, press the IFINDI soft key which will display the file(s). If the file is found, 
you will see it displayed with a Match found message and a special, temporary FIND volume 
is created that contains t he foun d obje ctfs) a nd this may be loaded in the same way as an 
ordinary volume. Pressing l CLR I and/or l GO I will load the found files according to the type of 
load shown on the left of the screen. 



When using the FIND function, it is not necessary to name the whole file. For example, if you 
want to search for a bass sound, simply type in BASS - the S3200XL will search the selected 
partition for ALL files that have those letters in them. In this example, you may see a screen 
display such as: 



FIND FROM DISK 



Find: 



HARD:-A Match Found 

BASS QUIT P Q* 
SYN BASS P O'K 
BASS SAX P 0* 
E. BASS P 0* 
BASS SYNTH P <tt 

[HS3 EHH find wflcg e=B=H iftfipi rmn nsm 



CLR s GO to load:- 
ALL PROGS+SAMPLES 



Here, several different basses from several different volumes in the partition have been found. 
You will receive the Match found message and you will also see Match Found at the top of 
the screen (indicating that this is the temporary FIND volume). Now select an appropriate load 
type (in this example, probably CURSOR PROGS+SAM PS to lo ad jus t the o ne sound you want), 
move the cursor to the file you want to load and press I CLR I and/or I SU I . 

You do not even have to type in BASS to receive a screen display as shown above. You could 
just type in BA and receive something similar but, in this case, the search function may also 
include such filenames as BAD DRUMS, BACKWRDS CYMB, etc.. 

Using the FIND function, typing in something like SYN may give a screen display such as: 



FIND FROM DIS 



Find: 



HARD 



CLR s GO to load:- 
ALL PROGS+SAMPLES 



HBB3 EBB find ■rsiaaEi^iiFiNDUTnni go i 



Match Found 




JP6 SYNCSU 


P 


OX 


SYNUOX 


P 


OX 


SYNCOPATED 


P 


OX 


MOOG SYN 


P 


OX 


BASS SYNTH 


P 


OX 



where all files with the characters SYN have been found. If you wanted to limit the search to 
only synth sounds, it would be best to type in SYNT in which case, those sounds named SYNC 
or SYNVOX, etc., would not be included in the search. 



S3200XL Operator's Manual - Version 1.00 



Page 223 



LOAD 



Once you become familiar with the FIND function, you will find it an invaluable aid to quickly 
searching for and loading sounds. 



NOTE: The FIND function does not work with floppy disks. 



Page 224 S3200XL Operator's Manual - Version 1 .00 



LOAD 



USING THE TAG DIRECTORY SYSTEM 

On the S3200XL, it is possible to 'tag' files. This is much the same as placing it in a special sub- 
directory. In this way, certain files in a partition can be categorised according to type or any 
other category you wish. For example, you may have a situation where all basses from all 
volumes in a partition have been tagged BASS and all strings tagged ORCHESTRAL. All vocal 
sounds may have been tagged VOICE. In this way, it is possible to access sounds much more 
easily. For example, using one of the above examples, if you want to load some bass sounds, 
instead of scrolling through volumes and partitions, you may simply select the BASS tag to 
view, select and load just those sounds. 

Sounds, however, can belong to several tags. For example, you may have a series of files 
tagged BASS which may include ALL bass sounds from electric bass to slap bass, synth bass, 
bass vocal, orchestral string bass, bass sax and flute, etc.. However, the tag SYNTH BASS 
would only contain those bass sounds of a synthetic origin whilst E. BASS would only contain 
electric bass (even though those exact same sounds exist in the BASS tag). Acoustic basses 
may be tagged AC BASSES or something similar, etc.. In this way, a flexible disk management 
system exists for easy access and loading of sounds. 

But before you can select a tagged file, you must first mark the files. 

To access the tagging function, press the ICI93 key. This will display a screen such as this: 



DISK FILE TAGS 



Select tags- 
TAG E 



: HARD-: A vol:2-BASS GUITAR 



Type of load:- 
TAG PROG+SAMPLES 



EL- BASS1 
EL. BASS2 
CHRS BASS 
MUTE BASS 
OCT BASS 



P 
P 
P 
P 
P 



a s. 

Q a s. 
OX 



BUSH HHH HEE3 tags IFIEHT1 IHHEEl ITCRI rsm 



To tag the files, simply move the cursor to the appropriate file and press IMRRKI. As you press 
IMRRhif, you will see that the file has an asterisk placed next to it thus: 



|*| EL. BASS1 



Q's. 



This indicates that this file is marked in the currently selected tag. 

To select files from another volume to mark, simply move the cursor to the uol: field and select 
the next volume and repeat the above procedure. Eventually, you should have marked all the 
files you want for the currently selected tag and, in future, when you want to load a particular 
type of sound, you only need to select the appropriate tag. To use the example above, if you 
subsequently want to load one or more bass sounds, instead of scrolling though vol umes, 
simply select the BASS tag to view all bass files, select the appropriate file(s) and press I CLR I 
and/or I SQ I to load the sound(s). It is worth going though your library and spending some 
time tagging them all as this will save you time in the future when you are looking for files to 
load. 



NOTE: It is not necessary to tag the programs and their associated samples - all you need tag 
is the program as it is possible to load TAG PROGS+SAMPLES. This will load the program you 
have tagged and the samples associated with them automatically without also having to tag the 
samples. 



If you make a mistake and accidentally tag a file you did not wish to tag, simply press IMRRKI 
again to un-tag it, Similarly, at a later d ate, should you wish to remove a file from a particular tag, 
move the cursor to it and press IMRRKI to un-tag it. 



S3200XL Operator's Manual - Version 1.00 



Page 225 



LOAD 



NOTE 1: In order to tag files, if you are using an MO hard disk or removable cartridge, the 
write protect tab must be off as the tagging process requires writing to disk. 

NOTE 2: Because CD-ROMs are a read-only medium, you cannot tag files on a CD-ROM. 

To select a tag for loading, press the UE33 key to display this screen: 



DISK FILE TAGS 



Select tags- 



|: HARD-: A yol:2-EASS GUITAR 



Type of load:- 
TAG PROG+SAMPLES 



EL. EASS1 
EL- EASS2 
CHRS BASS 
MUTE BASS 
OCT BASS 



P 
P 
P 
P 
P 



0* 
Q a s. 



BUSH HHH HUH TAGS IFIEHTl IHHEEl ITCR1 ngin 



Here we can see that the first set o f files t agged BASS are in volume 2 and are those shown 
with the * alongside them. Pressing IHEHTI allows you to scroll through the tagged files in the 
BASS tag sequentially. As you do so, the volumes they are in will be shown at the top r ight of 
the screen. When you come to the end of the tagged files, successive pressing of the IHEHTI 
key will cause the scrolling to 'wrap around' and y ou will b e taken back to the first files tagged. If 
you are happy with the selection, press I CLR I and/or I UU I to load the sounds. You will 
receive the usual displays for loading. If the sounds you want are no t to be found in this tag, 
select another tag in the Select tag:- field. When you press EEEH, you will be taken to the 
first file(s) in this tag. 

You may select different types of tag loads. The default is TAG PROGS+SAMPLES and this will 
load any tagged programs and the samples associated with them. Selecting 
ALL TAGGED ITEMS will simply load any items in the current tag. Selecting 
TAG PROGRAMS ONLY will only load the tagged programs and TAGGED SAMPLES will load only 
samples that have been tagged. 

NAMING TAGS 

You may also name a tag simply by pressing NAME, typing in a suitable name followed by ENT. 
It is worth giving your tags useful names to avoid confusion at a later date. 

NOTES ON USING THE TAGGING SYSTEM 

The tagging system is very powerful and can save you a lot of time searching for files and this is 
especially useful if you have a busy deadline to meet or are working in an expensive studio or 
whatever. 

For example, you may tag all orchestral sounds including strings, brass, woodwind, orchestral 
percussion, choir and so forth into one tag TAG A (which, of course, you should subsequently 
name ORCHESTRA or something similar). You could then tag all your strings (which could also 
include, say, synth strings, etc.) in TAG B (renamed STRINGS) and your brass (including synth 
brass, 'pop' brass, etc.) in another tag called BRASS. All your orchestral percussion could also 
be in another tag that also includes your powerhouse rock drums and percussion and synth 
drums, etc.. Bass sounds could be in one big tag that contains ALL your bass sounds whilst 
synth bass sounds could also be in a separate tag for synth basses as well as in a general 
purpose SYNTH tag. 

In this way, depending on the project you are working on, you may select sounds far more 
quickly. For example, if you are working on an orchestral piece, you would probably use the 
ORCHESTRA tag as this would give you all the sounds suitable for creating an orchestral effect 
but, if you were working on a ballad that requires a strings pad, maybe it would be better to use 
the STRING tag because, although the ORCHESTRA tag has strings in it, you wouldn't have to 
be distracted by orchestral brass, percussion, etc.. Similarly for bass. In a rock track, you would 
probably use your BASS tag that contains electric basses but, in a dance track, you may head 



Page 226 



S3200XL Operator's Manual - Version 1.00 



LOAD 



straight for the SYNTH BASS tag so as to only be presented with synth basses and not be 
distracted by electric or acoustic basses. 



S3200XL Operator's Manual - Version 1.00 Page 227 



LOAD 



HARD DISK CONTROL 

SCSI (Small Computer Serial Interface) has become very popular as a means of interfacing 
devices and because a SCSI interface is fitted as standard on the S3200XL, you may use a 
wide range of hard disks as a storage device for your sound library. Hard disks offer more in the 
way of size and also speed. More recently, the removable cartridge types of storage devices 
have become increasingly popular. The problem with fixed drives is that when they fill up you 
either have to delete files (or back them up to floppy or DAT) or you need to buy another drive. 
With the removable types, you simply insert another cartridge. 



Your hard disk is controlled from the 



pressed, the following screen display is seen: 



page of the LOAD mode. When 



(F5) is 



IHARD DISf 


rTriNTPrir^^M 


5 
6 
512b 

OH 




SCSI driue ID: 

local SCSI ID: 

SCSI driue sector size: 

MO driue/fan: 

HB33 EBB EMU EMM scs I 


i3BBiiam 



The parameters on this page are used to set SCSI ID's. The most important parameters you 
need to know about are SCSI driue ID: and SCSI driue sector size:. 

SCSI allows up to 8 devices to be on the buss and these each have a unique number 0-7 (it's 
similar to the concept of MIDI channels). In order for one SCSI device to 'talk' to a hard drive, 
their SCSI ID's must match. The SCSI driue ID: field sets the SCSI ID for the sampler's 
SCSI interface. The default setting in the SCSI driue ID: field is 5. This parameter must be 
set to match that of the drive. For example, if your external drive is 1 , this parameter must be set 
to 1. You may, if you wish, have several drives connected and each of these must have 
different SCSI ID's. Each one can be selected by changing the ID number in the 
SCSI driue ID: field. 

The SCSI dr iue sector size: field allows you to switch between the different MO formats 
of disk. There are two - 512Bytes per sector and IkByte per sector. Both offer the same 
storage, they just have different sector sizes. The S3200XL can use both and this is selected 
in this field. The default is 512b. 

The local SCSI ID: field sets the S3200XL's SCSI ID (as distinct from the sampler's SCSI 
interface's ID) and is used when communicating between samplers or computer editors over 
SCSI. 



NOTE: If your external drive's ID is something other than 5 and uses a 1 kBytes/sector disk, 
you may set the appropriate settings here and, by saving the operating system to floppy disk 
and powering up with it in the drive, the S3200XL will default to the SCSI ID and sector size of 
your drive. 



If you have the optional SONY HS-D650 3.5 inch magneto optical drive fitted internally in the 
S3200XL, the MO driue: field allows you to turn this off in software. Three options are 
available. The first is OH which leaves the MO drive operating at all times. However, because 
the drive can be noisy due to the fans required for cooling, when not in use, you may like to 
turn it off. This can be done in two ways. Firsly, you may set this parameter to AUTO which will 
turn the MO drive off as soon as you attempt to make a smple in the REC page of SAMPLE. In 
this way, the noise of hte driver's fan will not spill over into your smple if you are using a 
microphone in the same room sa your S3200XL. As soon as the smple has been recorded, the 
drive switches back on immediately. The other option is OFF which, as the function implies, 
turns the drive off completely. Please note that this does not apply to external MO drives that 
may be connected. 



Page 228 



S3200XL Operator's Manual - Version 1.00 



LOAD 



IMPORTING SOUNDS FROM OTHER MANUFACTURER'S CD-ROMS 

On the S3200XL, as well as having access to a vast range of Akai sound library, you may also 
import sounds from CD-ROMs made for certain samplers made by other manufacturers thereby 
giving you access to even more sounds. This is done in the SCSI page. 

Assuming your CD-ROM is on a SCSI ID other that 5, change the SCSI ID here in the 
SCSI dr iue ID: field to match that of the CD-ROM drive you are using and press F7 or F8 as 
appropriate. The following example shows loading sounds from an EXIIIP CD-ROM. 

Pressing F8 will show the following screen: 



ENU3 CD-ROM 



[[ Uolune ]] 



CI 



Proteus I^Pop 



Stereo Grand 
■Uarn Grand 1 
Uarro Grand 2 
Bright Grand 
32 Qoice Grand 
Choir u^chorus 



rmnrem 



To load an Akai volume (as oppo sed to a whole CD-R OM volume), simply move the cursor to 
the vol ume name field and press I C LR I and/or l GO I All programs that are contained in the 
volume I -^ IbBjiHE^BWmMCT w jh be loaded. 



To loa d a sin gle program, move the cursor to the program you wish to load and press I CLR I 
and/or GEO 



To load a program and all programs that follow it, move the cursor to the program field and 
select the program you want to have as the first in the list of programs you will load. Now place it 
at the top of the screen by using the DATA wheel, scrolling to place it at the top of the list 
shown in the right of the screen. Move the cursor to the volume field and press I CLR I and/or 
l GO l This will load the program shown at the top of the list and all those shown below it. 



NOTE: If any programs below the select program are 'off screen', these will also be loaded. 



For example, if in the above example, you want to load BRIGHT GRAND and all programs after 
it, mo ve the cursor to BRIG HT GRAND, scroll it to the top of the list using the DATA wheel and 
press rCCRI and/or CEO 

NOTES REGARDING LOADING OTHER MANUFACTURERS SOUND LIBRARY 

There are certain restrictions when loading sounds from other manufacturer's CD-ROMs. 



NOTE: Although all references in this explanation refer to CD-ROM containing other 
manufacturer's sound library may also be used. 



Layered programs using several 'presets' or those made using several 'patches' will be 
loaded as a single 'preset' or 'patch' into the S3200XL. In this case, load all the single 
'elements' (i.e. presets or patches) and layer them in the MULTI mode. 

If there are more than 128 programs in the volume, the S3200XL will 'wrap' around' 
programs 129 and onwards so that #129 becomes #1, #130 becomes #2, etc.. You can 
renumber these on the S3200XL if you wish in SINGLE or MULTI using the RNUM 
function. 

Due to different sound parameter configurations amongst different samples, the S3200XL 
will convert certain program parameters to make them compatible with Akai program 
parameters (sample data is not affected). However, this may cause the sound to be slightly 



S3200XL Operator's Manual - Version 1.00 



Page 229 



LOAD 



different in the S3200XL and may require some 'tweaking' to sound the same as the 
source sampler . 

You may find with samples that have a short loop that there may be differences in the loop 
length. Use FIND or adjust the loop length manually on the S3200XL. 

• The S3200XL can only read CD-ROM to 512Mbytes. CD-ROMs or hard disks larger than 
this can be used but any data stored above 512Mbytes will be ignored. 

Due to certain restrictions when loading sounds from other manufacturer's CD-ROMs, the 
area of memory used for standard MIDI song files (see GLOBAL - SMF) is overwritten when 
another manufacturer's sound is loaded from CD-ROM. In other words, any SMFs you may 
have loaded will be erased should you load sounds from another manufacturer's CD-ROM. 
It is best, therefore, to load your sounds first and then load your MIDI song files. 

It must be said that whilst the S3200XL can use sounds made for other samplers, the way each 
of these samplers work is different and so you may find that some 'tweaking' will be necessary 
to optimise the sound for your requirements. However, we hope that the added benefit of 
having access to other manufacturers' sound library outweighs this slight inconvenience. If it's 
any consolation, Akai programs and samples need tweaking when imported into other 
samplers! 



Page 230 S3200XL Operator's Manual - Version 1 .00 



GLOBAL 



GLOBAL MODE 

The GLOBAL mode gives access to certain 'system' parameters that affect the S3200XL as a 
whole. It also gives access to functions such as the disk recording, DAT back-up, MIDI song file 
playback, etc.. Pressing the GLOBAL key will display this screen: 



GLOBAL AND UTILITIES MENU 



TUNE=Tune £ level 
MIDI=MIDI utilities 
DRUM=ME35T interface 
DAT =Backup^restore 

DHB§ EIEI1 H3H51 1991 Eia W3BM EES 



SMF =MIDI song play 
DD =Disk recorder 
CUE =SMPTE cue-list 



This is, in fact, a menu screen where you may select the functions listed on it. The functions 
are accessed by pressing the soft keys. 

TUNING THE S3200XL 

The first of these is TUNE where you may set the master tuning for the module as well as set its 
output level: 



TRANSPOSE 



FINE TUNE 



-7 -4 



+4 +7 _50 



+50 



SEMI -TONES 

Master Leuel: 



I dec I fine I 



+ 
CENTS 

+QdB rtonei 



The S3200XL can be transposed by up to ±9 semitones and fine tuned by up to ±50 cents 
(one semitone) to enable easy playing in difficult keys and to match tuning with other 
instruments. When you first press the TUNE/LEVEL key, two scales indicate the current 
transposition and tuning. Use the CURSOR < and > keys to transpose up or down and the 
DATA control to provide fine tuning (one click of the knob equals one cent). These 
transposition and tuning settings will be lost when power is turned off unless they are saved to 
disk in a full volume save. 



There are two soft keys l ON I and l OFF I in this screen display on F7 and F8. These will turn an 
A=440Hz audio signal on and off to the stereo output connectors (and the headphones). This 
may be used as a tuning reference for the sampler (or any other instruments you have) or as a 
test tone for checking levels, etc.. 

SETTING THE MASTER OUTPUT LEVEL 

As well as the main volume control, it is also possible to set the master level for the S3200XL in 
this page. The primary benefit of this function is to set the output level to match different 
mixers' headroom. It is possible to boost the sampler's output level for a 'hotter' output for 
professional +4dBm desks but for desks that run at -10dBm, you may prefer to cut the level 
back a bit to prevent distortion. In order to optimise the S3200XL's signal to noise ratio, it is 
recommended you run the outputs as high as possible - this, in turn, will require less gain on 
your mixer input channels which will keep noise levels down. The level settings will be lost 
when power is turned off unless they are saved to disk in an entire volume save. 

Level is adjusted using the I dec 1 1 inc I soft keys - F1 and F2. 

You will note that this control affects not only the stereo outputs but also the digital audio 
output and the individual outputs. 



S3200XL Operator's Manual - Version 1.00 



Page 231 



GLOBAL 



MIDI FUNCTIONS 

When you first press the MIDI mode key, 
entered. 



the BASIC MIDI CHANNEL CONTROL page is 



BASIC MIDI CHANNEL CONTROL 



SINGLE prog select chan: M^M 
FOOTSUITCH MIDI channel: 
flPM external controller: Q 

CHAN HIM I335H ISBlia IIrT=T?l BHH1 ETS31 fEES! 



The SINGLE prog select chan: parameter sets the MIDI channel for the S3200XL as a 
whole and this is the MIDI channel used when in SINGLE mode and in SAMPLE mode (in 
MULTI mode, the S3200XL responds to all 16 MIDI channels and each part has its own 
channel). This parameter is shown in the SINGLE mode for your information. 

The ARM external controller: parameter allows you to select the external MIDI source 
used in the PROGRAM ASSIGNABLE MODULATION system used in programs. Whatever you 
select here becomes one of the choices you can make when assigning modulation sources in 
a program. You may choose from any of the 128 MIDI controllers (although please note that 
these are numbered 0-127 in this display). A list of these controllers is given in the 
appendices. 

You will note that these parameters are saved to disk whenever you perform a VOLUME save. 
They are not saved when performing any other type of save. 

MIDI FILTER 

Pressing the 13191 key (F2) will display this screen: 



■MIDI 


RECEIUE FILTER 




+on 
9 ID II 


-off 
12 13 IL, 


15 


It 


all 


CHAN: 
OH: 
UHLS: 
PRES: 
LOUD: 

bssqi 


1 2 3 


4 5 6 7 


S 


D+ + 


+ + + + 


+ 


+ + + 


+ + + 


+ 


+ 


i I 


+ + + + + + + + + + + + + + + 
+ + + + + + + + + + + + + + + 
+ + + + + + + + + + + + + + + 

filt Hasa EHsa Qaaa nan e=h=h 


+ 
+ 
+ 


< 
< 

< 



This page allows you to filter out specific MIDI information. When you enter this page, the 
cursor will be at the top left of a grid of V signs, in a long rectangular box. You can use the 
cursor keys to move to any point on the screen. 

In this grid, the columns represent MIDI channels (1-16), and the rows represent MIDI 
information which the S3200XL will accept or filter. The first row, 'ON:', affects the S3200XL's 
receive capabilities for all information on that channel, the next, 'UHLS:', refers to the pitch and 
modulation wheels, the third line, 'PRES:', refers to aftertouch, and the last line, 'LOUD:', refers 
to an external MIDI volume control (controller 7). The last column in each row, 'all', will affect 
the appropriate information for all MIDI channels. The '+' signs mean that the S3200XL accepts 
this information and '-' means that this information is filtered out. 

If you turn the DATA control counter-clockwise, the '+' which the cursor covers will change to a 
'-'. If you make this change in the ON: row, all '+' signs in the same column below will change to a 
'-' and you will see a column of '-'. If you make this change in the 'all' column on the right, the 
parameter for all MIDI channels will be changed and you will see a row of dashes: '-'. The top 
right corner of the display (all) is a special case - all parameters will be changed which may be 
useful for resetting the whole screen. 



Page 232 



S3200XL Operator's Manual - Version 1.00 



GLOBAL 



By using this filter, you can control the response of the S3200XL to MIDI events. By filtering 
out aftertouch on a percussion program where it is not needed, for instance, you can improve 
the response of the S3200XL when a lot of MIDI data is received. 

PPM PAGE - MONIT ORING MIDI 

Pressing the IflfliS key (F3) will display this screen: 



IMTrtT hinTF PPM DISPLAY! 










ON-uelocity+ 


i 




channel :- 1 2 3 4 5 6 7 S 9 ID II 12 13 IL 15 It 
H3EG1 fflU PPMs E3H3 DSSE1 HH51 E=H=I1 





This page has no parameters. Instead, it provides a real-time display of all Note On information 
received on the 16 MIDI channels. The higher the bar on the display, the greater the velocity of 
the received note. This page is called PPMs' because it simulates the behaviour of audio bar- 
graph Peak Program Meters. 

Under normal circumstances when playing the S3200XL from a MIDI keyboard, you will receive 
a display such as is shown above with the bar graph showing incoming MIDI on the selected 
channel but, when sequencing multi-timbrally on several channels, you will see a display such 
as: 



IMTH.T hinTF PPM DISPLAY 1 










ON-uelocity+ 


1. 1.. ii 




channel :- 1 2 3 4 5 6 7 S 9 ID II 12 13 IL 15 It 
H3EG1 fflU PPMs HSH3 D33U HH51 E=H=I1 





This is a very useful page that allows you to track down any problems you may be experiencing 
when sequencing. For example, if a part isn't sounding, you can check if the S3200XL is 
receiving MIDI on its channel. If it is, then it may be some other problem such as wrong output 
assignment, channel fader on the mixer not open, the sound hasn't loaded, etc.. 

MIDI RECEIVE PAGE - ANALYSING MIDI 

Another MIDI receive monitor is available in the I3BS13 page. Here, you can monitor other types 
of MIDI information received by the S3200XL. 



■ MIDI 


RECEIUE 


MONITOR ■ 


CHflH: 


dot 




* 






t 






neans 




t 






running 




* 






status 


latest > 








EH3a am easa roue naaa isssm siai 



Again, this is especially useful if you are faultfinding on your MIDI system. Information from the 
MIDI IN is displayed, and a channel filter may be set at the top of the screen (OMNI or 1 to 1 6). 
When idle (i.e. not receiving MIDI), the screen shown above is displayed - when receiving MIDI, 
something like the following is shown: 



S3200XL Operator's Manual - Version 1.00 



Page 233 



GLOBAL 





dot 


■ MIDI RECEIUE ' 10 ■ I TOR ■ MAZ ■ EB 


t F_4 OH UEL= SO 1 


t fl_4 OH UEL= 65 1 


Means 


t C_5 OH UEL=110 1 


running 


t C_5 OFF UEL= 47 1 


status 


latest >F_4 OFF UEL= 45 1 




H3EG1 fflU 0359 ROUE 03311 BBS1 E=H=I1 



Here you will see a constantly changing display as notes are received. If any performance 
controls are used such as mod wheel or pressure, these too will be shown. 

If the information is not displayed on this monitor, the information is not reaching the S3200XL. 
Check your connections or the output channel of the transmitting equipment. If the 
information appears to be correct, but no sound or unexpected sounds are being produced, 
then the fault may lie in the MIDI setting of the program(s). You may discover that the piano 
track of the sequencer is playing the drum samples, for example. 



You may select to view particular channels using the CHAH:: field. This defaults to IfliJ (short for 
OMNI) so you can view all channels but you may select individual channels 1-16 if you only wish 
to monitor a specific channel. 



TRANSMIT TE ST PA GE - SETTING THE ENT/PLAY 

Pressing the U3SH1 soft key (F5) will display this screen. 



KEY 



NIDI HOTE TRAHSMIT TEST 



channel: 

note: 

velocity: 



C_3 
127 



tSEHDt_ 

heei am ssss esse trah bbsi ram hffh 



In the TRANS page, you can produce a test transmission of a M IDI n ote, an d set the channel, 
key and velocity of the note to be transmitted, using the I QH I and I OFF I keys (F7 and F8). 
This key value and velocity will also be used by the key when testing samples and programs 
using the ENT/PLAY key. 



NOTE: When in EDIT SAMPLE mode, the raw sample is always played at its base pitch (i.e. 
the pitch was sampled at) and not at the note value set here. 



Page 234 



S3200XL Operator's Manual - Version 1.00 



GLOBAL 



MIDI SAMPLE DUMPS 

Samples can be transferred between the S3200XL and other samplers via MIDI and this is 
done in the EXCL page: 



EnaMgBSMlHiia channel: 

type of transmission: 

sample protocol: 

single program: 

single sample: 

sample number override: 



1 <:trans £ rec^ 
ALL PROGRAMS 
STANDARD 
STRINGS 1 
STRING C4 

2 



\3ESH 9HJ [33S3 E39§ BSSS EXCL E=H=H EEHE 



To perform a MIDI data dump, you must make a MIDI loop (MIDI OUT of the S3200XL 
connected to MIDI IN of the other sampler, and vice versa). This is necessary because of the 
way in which MIDI sample dumps are performed (in computer terms, a handshake protocol with 
error detection/correction). 

Though the S3200XL is a 16-bit sampler, it can accept samples from other samplers, including 
those from other manufacturers which use a lower bit resolution. If transmitting to another 
sampler which uses fewer bits, the S3200XL simply truncates the low bits during the transfer. 
Instead of another sampler, samples can be transmitted to and accepted from other devices 
(such as computers) which are capable of storing and/or editing sample data with the 
appropriate sample editing software. However, in this section we will always refer to the other 
device as a 'sampler'. The fields are as follows: 



channel: 



type of transmission: 



sample protocol: 



single program: 



single sample: 



This does not refer to a MIDI channel, but a 'logical channel' 
used in System Exclusive protocol. Both samplers must be 
set to the same channel for transfer to take place. 

This parameter refers to what will actually be transmitted over 
MIDI. This can be ALL PROGRAMS, ALL SAMPLES, 
SINGLE PROGRAM, SINGLE SAMPLE, or DRUM SETTINGS. 
The meanings of these values should be self-explanatory. 

Two protocols for sample transfer are available. STANDARD 
conforms to the MIDI sample dump standard and will dump 
only samples across and S3000, which is a superset of the 
MIDI sample dump standard which will dump everything 
including loop and other data. Use the S3000 setting only if 
you are transferring data between two S3200XL-compatible 
machines. 

If you have selected SINGLE PROGRAM transmission, this 
parameter allows you to specify the program which will be 
transmitted. 

If you have selected SINGLE SAMPLE transmission, this 
parameter allows you to specify the sample which will be 
transmitted. 



sample number override: You can override the default sample number (based on the 

order in which samples appear in the S3200XL's memory) with 
this parameter. 



S3200XL Operator's Manual - Version 1.00 



Page 235 



GLOBAL 



PERFORMING A MIDI SAMPLE DUMP 

When all the parameters are set up, press the EEHE1 key to initiate transmission. Once the 
handshake protocol has been successfully initiated between the two devices, data transfer will 
take place. A new soft key, ABORT, will appear. Press this if you want to terminate the 
transmission prematurely. 

There is no receive key on the S3200XL as reception of bulk data will automatically take place 
once a remote device initiates the dump protocol. 



NOTE: It is quite likely (if not certain) that sample editors will not work if you use the S3200XL 
protocol because the editor will not have the ability to recognise the new file header 
information present because of the new features in the S3200XL. No doubt, manufacturers of 
these editors will soon upgrade their software to overcome this. In the meantime, you should 
use the standard MIDI sample dump protocol to exchange sounds between your editor and 
the S3200XL 



Page 236 S3200XL Operator's Manual - Version 1 .00 



GLOBAL 



MIDI VIA SCSI 

The final soft key in this mode, F7, calls up the SCSI screen: 



SCSI COMMUNICATION 

MIDI uia SCSI: OFF 

local SCSI ID: 6 

remote SCSI ID: 6 



\3ESH 919 0399 H39§ Q33B BBS1 scsi 



On this page you can enable or disable MIDI bulk data transmission along a SCSI buss, rather 
than the MIDI connections, and set the SCSI IDs for both the S3200XL (local SCSI ID: ) 
and the other SCSI device (remote SCSI ID: 6). The other SCSI device can be sampler of 
the S3000 or newer XL series or a personal computer (equipped with the appropriate 
software). Values for SCSI device IDs can be from to 7 and the two devices must have 
different SCSI numbers, otherwise there will be a conflict on the SCSI buss as two devices try 
to share the same ID. SCSI transmission of MIDI is much faster than normal MIDI data dumps 
which can take an awfully long time!! 



NOTE 1: When using the Mac™ editing software supplied with the S3200XL, this page 
should be set as appropriate. However, you needn't worry too much about this as the software 
'seeks out' the device on the SCSI chain when you open it and it will find the sampler's local 
SCSI ID automatically 

NOTE 2: If you have two samplers sharing the same disk drive thus: 

SAMPLER A 



3 

4 



DISK DRIVE 



SAMPLER B 

Make sure the local SCSI ID: parameters on each sampler are different. If they are the 
same, you will notice difficulty in accessing the disk drive for loading or saving data. The same 
applies when using two or more samplers and the Mac™ editing software. This is known as 
'buss contention' and what is happening is that because more than one device has the same 
SCSI ID, the buss doesn't know which device to choose and so gets confused. 



S3200XL Operator's Manual - Version 1.00 



Page 237 



GLOBAL 



ME35T DRUM 

Pressing 



SETTINGS 

displays the following screen: 



IDRUM INPUT SETT I HGS ■fclfclfl DRUM INPUTS 1 


unit: 1 input: ALL 
chan: 1 capture: 4nS 
note: 60 recover: lOnS 
sens: 50 on-tine: lOnS 






trig: 25 U-curue: 3 jki- 
EDIT WSU 


1 234567S 



The S3200XL is capable of acting as a highly sophisticated percussion sampler using the AKAI 
ME35T audio/MIDI trigger interface unit to produce MIDI trigger signals from a variety of 
sources. Two such units may be connected, and programming may be carried out from the 
S3200XL rather than on the more limited displays and controls of the ME35Ts. For such 
programming to take place, a 'MIDI handshake' must be set up, from IN to OUT and OUT to IN. 



■ : 



1\ 



MIDI OUT 



U =| I5SSSS 


MIDI OUT 


A 


MIDI IN 


o 

■ 




1 


II IIOoo 


aaaaaaaa rrn ZZZZ 

DDDDDDDD LtU ZZZZ 



MIDI IN 



Hi 



MIDI IN 



1 



MIDI IN 
MIDI OUT 




When two ME35T units are to be used together to provide 16 drum inputs, they should be 
connected as shown on the right. 

Since this is a manual for the S3200XL, full details of the operation of the ME35T will not be 
given here. Refer to the ME35T manual for operational details. However, note that to set up 
the MIDI Exclusive channel on the ME35T, the MIDI CHAN and MIDI NOTE keys on the ME35T 
should be pressed simultaneously. The following parameters on the ME35T may be set up 
from the S3200XL: 

The name of the drum input settings may be altered by pressing NAME, typing in the name 
followed by ENTER. 

The parameters on this page are as follows: 

unit: Either one of two ME35Ts may be selected for parameter editing here. 

input: Selecting ALL allows the inputs to be globally edited to rough values, and 

then individual (1-2) inputs may be selected for fine adjustment. This method 
of working can save you a lot of time. 

chan: Here you may select the MIDI channel for the selected input. 

note: Here you may select the MIDI note number you wish to assign to the input 

sens: This sets the overall velocity sensitivity for the selected input, 

trig: This sets the trigger sensitivity of the selected input and should be adjusted to 

match your playing style and also to the nature of the drum pad, mic or bug you 



Page 238 



S3200XL Operator's Manual - Version 1.00 



GLOBAL 



are using. As you adjust the trigger level, this is represented in the box to the 
right. 

capture: This allows you to set the capture time of the selected input. 

recover: This allows you to set the recovery time of the selected input and should be 

set so that stick bounce doesn't cause unnecessary false triggering. 

on-tine: This sets the length of the note that will be issued from the ME35T's MIDI 

output for that channel. In this way, drums can be used to trigger keyboard 
sounds. 

U-curue: Here you may select from 8 different velocity curves to match your playing 

style. Please see the ME35T manual for details of these curves. 

As you play your pads or drums, you will see something like the following display with a PPM 
style bargraph: 



DRUM INPUT SETTINGS 



unit: 1 
chan: I 
note: 60 
sens: 50 
trig: 25 
EDIT HSED 



nane: 
input: ALL 
capture: 4nS 
recover: 10nS 
on-tine: 10nS 
U-curue: 3 



DRUM INPUTS 



it 



IH:-1 2345678 



For more information on these parameters, please refer to the ME35T's operators manual. 
The second page of the DRUM mode is accessed by pressing HUSH: 



DRUM UNIT CONTROL 



operation: 

exclusive channel: 

MIDI thru enable: 



U NIT 1 

1 
OFF 



UNIT 2 
OFF 
2 
OFF 



mssn cont 



This page allows you to set up MIDI parameters for up to two ME35T units. Parameters which 
you can set are: operation (ON or OFF), exclusive channels for programming ( 1-32) a nd enable 
of MIDI THRU operation (ON or OFF). To return to the first DRUM page, press laoii You may 
exit the DRUM mode by pressing the GLOBAL mode select key again - this will return you to 
the main GLOBAL page. 

Once you have set the ME-35T settings, they can be saved to floppy disk in the SAVE mode 
and subsequently loaded in the LOAD mode. 



S3200XL Operator's Manual - Version 1.00 



Page 239 



GLOBAL 



DAT BACK-UP AND RESTORE 

One very useful function of the digital interface is that of DAT backup. This allows you to make 
safety copies of your data on a simple DAT tape. This can be invaluable for archiving a hard disk 
when it is full and helps you overcome the problem of lost data in the event o f apro blem 
occurring with your hard disk. To access the DAT BACKUP functions, press F4 - ISSU. You 
will receive this screen display: 



DAT BflCKLFvRESTORE 



mult i< 



current uol: HOT NAMED programs: 

complete uols: samples: 

backup type: HARD DISK Tlists: 

transmit: 44.1KHz BBJBHJH3 FX: 

mult i : 
ISBUEI iranEi 



Here you may set the parameters and perform a backup or restore. The fields are as follows: 



current uol: 



This displays the name of the current volume selected in the DISK 
mode. When the backup or restore process is in operation, this field 
changes to show the name of the volume currently being backed up 
or restored. This field is not accessible to the user. 



complete uols: 



backup type: 



transmit: 



This field is also not accessible to the user and merely a progress 
display to show the number of volumes that have been backed up or 
restored in the process. 

Here you may select to backup either your hard disk or just a single 
memory load of samples - i.e. those in RAM at the present time. 
Usually the selection is HARD DISK because you mostly want to use 
this facility to make safety copies of your hard disk however many 
people, especially those with memory expansion boards fitted in their 
sampler, use the back up facility to backup long samples from memory 
rather than tie up an expensive hard disk drive. 

The sampler's transmit rate is fixed at 44.1kHz and here you may 
select between the consumer format for digital audio (SPDIF) or the 
professional AES/EBU format when transferring digital audio to DAT 
or some other recording medium or when performing DAT backup. 
What you select depends very much on your equipment. Some 
equipment is very forgiving and doesn't mind either format. Other 
equipment, however, is not so flexible and you have to choose 
specifically which format to use. 



NOTE: The selection made here also affects the format of the audio as it appears in real-time 
at the digital audio output (i.e. the digital 'clone' of the main L/R outputs). 



Page 240 



S3200XL Operator's Manual - Version 1.00 



GLOBAL 



PERFORMING A DAT BACK UP 

This is simple! Assuming you have made the necessary digital audio connections, simply press 
RECORD and PLAY on the DAT (or whatever combination is r equired on your particular DAT 
machine) and, ensuring that the DAT is actually recording, press ISRUEI - F7. The S3200XL will 
backup to DAT. 

If you are saving volumes to DAT individually, 2 Meg will take about 30 seconds. If you are 
backing up the contents of your hard disk to DAT, each 2 Meg volume takes about 100 
seconds - this is due to certain SCSI control considerations. 

Data is saved in a digital audio format and but the sample headers and program information and 
other data are stored in a special format. During the save, both DAT channels are used but 
when restoring, only the left hand side is used. 

PERFORMING A DAT RESTORE 

This too is simple. Find the point on the DAT where your backup is, press ILQBEI on the 
S3200XL and PLAY on your DAT - the contents of the S3200XL's memory or hard disk will be 
restored. 

Please note that when performing a restore, it is not possible to do a partial restore - i.e. when 
restoring into memory, you cannot selectively restore one snare drum, for example, and when 
restoring to hard disk, you cannot selectively choose a single volume. 

As backing up and restoration takes place, the number of samples, programs, Qlists and other 
items will be displayed on the screen. 



PLEASE NOTE 

THE DAT RESTORE PROCESS WILL ERASE THE CURRENT 

MEMORY CONTENTS OR HARD DISK DATA - PLEASE BE CAREFUL 



NOTE 1: Though backing up to DAT offers many advantages in terms of speed, convenience 
and cost of the media, Akai does not guarantee the integrity of the data backed up in this way. 
It is therefore strongly recommended that for archive purposes you also backup to floppy 
disks. 

NOTE 2: Only DAT machines may be used for backup/restore. 

YOU CANNOT BACKUP SAMPLER DATA TO DCC OR MINIDISK FORMATS 

The reason for this is that both these formats for digital audio recording use data compression. 
These work by actually removing data from the datastream thereby saving space. The data 
compression algorithms used work on the principle that certain frequencies get masked by 
others in certain circumstances and so can be removed without too many adverse effects. This 
does have a slight affect on tonal quality but, generally, the tiny loss in quality is barely 
noticeable when listening to music. However, because the data compression process 
removes data, it will corrupt the S3200XL sample and program data should you try to back up to 
such a machine. These machines are great for digitally mixing down onto from the S3200XL's 
digital audio outputs but you cannot perform a backup to them. Should you try to, the restore 
will fail. 

Akai Electric Co cannot accept responsibility for any data lost in this way. 



S3200XL Operator's Manual - Version 1.00 



Page 241 



GLOBAL 



STANDARD MIDI FILE - MIDI SONG FILE PLAY 

The S3200XL is able to load Standard MIDI Files (SMF's) into its memory and play them as 
standard MIDI sequence files. Of course, you cannot edit these sequence files but this 
function allows you to use the S3200XL as a sequence data filer so that, if you are playing live 
and require backing tracks or whatever, you can do so without the inc onven ience of taking 
your sequencer with you. These functions are made available using the E3£lfl key. The SMF 
function allows: 

Up to 50 MIDI files to be loaded simultaneously (a total of 300kB of data) 

Support of SMF files up to 999 bars per song (to a total of 300kB). 

Compatible with SMF formats and 1 . 



NOTE: Please refer to the S3200XL's MIDI implementation chart to see what functions are 
available when working with SMFs on MS-DOS format floppy disks (i.e. note on/off, control 
change, etc.). 



Pressing 



gives something like this screen: 



MIDI SONG PLAY 



EAR BEAT TEMP 



PLAY 



HIHIIIM 
start: 1 
end: 999 
tempo node: FILE 
manual tempo: 120 

fEETI IFTTiTl IBTOF1 



The parameters are as follows: 



song: 



start: 



end: 



This shows the name of the currently selected song. When 
you have some songs loaded in the sampler, use the DATA 
wheel to select them. If no songs are loaded, this field will be 
blank. 

This selects the bar the song will start at. You may use the 
DATA wheel to set a range of 1 -999. 

This sets the bar the song will end at. Selection is made using 
the DATA wheel 



NOTE: Normally, these parameters are left unchanged. 



tempo node: 



manual tempo: 



EAR BEAT TEMP 



The soft key functions are: 



This selects whether the tempo is set as per the MIDI file 
loaded (i.e. File - as specified in the song data file) or will be 
set to Manual. When set to Manual, the tempo of the song is 
set in the manual tempo: field described below. 

Here, you may set the tempo of the song manually (please 
note that the tempo mode: field should be set to MANUAL for 
any tempo changes to take place). 



When the IFLRYI key is pressed, BAR and BEAT start 
counting up elapsed bars and beats and the TEMPO field 
shows the song's tempo settings as set in the tempo mode: 
or manual tempo: fields. 



Page 242 



S3200XL Operator's Manual - Version 1.00 



ELBE 



GLOBAL 



This will take you to the SMF load page (see below). 

You may delete the selected song file from memory using this key. 

This will play the selected song at the tempo specified in the tempo node: r 
manual tempo: f r0 m the bar selected in the start: field. As the song plays, 
so you will see its progress in the EAR BEAT TEMP fields. 



NOTE: Although you may select another song for playback, when the current song reaches 
the end, it will stop - it will not then play the next SMF. 



IBTDFI 



It will not surprise you to know that pressing this key will stop playback of the 
song! 



LOADING STANDARD MIDI FILES 

In the MIDI SONG PLAY screen, pressing F2 - 



will display this screen: 



ILOflD MIDI FILE 


<D0S 


- FDD 


I Free: 100^ 


Uolume: 
12 files 

Hiaa disk 






MISSIHS 
CRY OH SMILE 
LOUE SOHG 
SOY YES 


ILQflDJ 



The S3200XL will read the floppy disk and list the song files that it contains. 



NOTE: As the title of this page implies, files must be on a DOS format floppy disk. SMF's on 
floppy disks other than DOS format cannot be read. If the disk is not an MS DOS formatted 
disk, you will see the message: 



| HOT MS-DOS FORMATTED DISK 



This will occur if the disk in the floppy is a sound library disk. 



The fields on this screen are: 



Free: 



This indicates the percentage of memory free for loading song files. 100% 
indicates approximately 300kB free for this purpose. 



NOTE: If the memory is full with sound data, there may not be enough room to load an SMF. 
Be sure to leave a bit of memory free for song files. 



FILE LIST Although not specifically named, underneath the Free: field, you will see a list 

of song files available on the currently selected floppy disk. Use the 
UP/DOWN cursor keys to select the one(s) you want to load. 

Uolune: This shows the floppy disk label (if any). 

files This indicates the number of files on the disk. In this case, 12 is shown 

indicating that there are files 'off screen' which may be loaded. 



S3200XL Operator's Manual - Version 1.00 



Page 243 



GLOBAL 



The soft key functions are: 



aiaa 

CJB0 



This will take you back to the MIDI SONG PLAY screen where you may play the 
songs you have loaded. 

This will load the selected file into memory. If you try to load a file that is not a 
standard MIDI file, the S3200XL will remind you with an error message: 



| This is not a standard-MIDI— f ile 



NOTE: If you load a file that has the same name as a file that already exists in memory, the 
existing file will be deleted and replaced with the new one. 



USING THE SMF FUNCTION 

To use SMF data on the S3200XL, follow the procedure below. One of the disks supplied with 
the sampler contains a demo sequence - you can use this to check out the SMF functions. 

1 First, load the sounds from the floppy disk supplied. This floppy contains a MULTI file for 
sequencing for this demo disk. Load the sounds from the LOAD mode (insert the sound 
data floppy disk and, assuming FLOPPY is selected in the LOAD page, press F7 - CLR - 
and then F8 - GO. See the section LOAD for more details on loading sound data). 

2 Now insert the DEMO SEQUENCE floppy disk into the disk drive. 



3 In GLOBAL mode, press EmH to get to the MIDI SONG PLAY page and press H999 to 
get to the LOAD page for song files. 

4 Select and load a MIDI song file from the file list. You can load as many files as you like as 
long as there is enough memory space. 

5 Once the files are loaded, press HM3H to return to the MIDI SONG PLAY page. Select the 
file you wish to play and press IFLRYI to play the selected MIDI song file. Press ISTQFI to 
stop playback. 



NOTE 1: SMF song playback can only be initiated within the MIDI SONG FILE page. However, 
once the song is playing, you may go to other pages - for instance, you may go to MULTI mode 
to change the program assignment as the song plays or to EFFECTS mode to select different 
effect for the multi. You may even go to EDIT MULTI or EFFECTS EDIT to edit sounds and/or 
effects. To stop playback, you must return to the MIDI SONG FILE PLAY page. 

NOTE 2: Be careful to leave a bit of memory free for the SMF when loading sounds. 
Cramming the memory full of sound data will leave no space for the SMF to be loaded. 

NOTE 3: Due to certain restrictions when loading sounds from other manufacturer's CD- 
ROMs, the area of memory used for SMFs is overwritten when another manufacturer's sound is 
loaded from CD-ROM. In other words, any SMFs you may have loaded will be erased should 
you load sounds from another manufacturer's CD-ROM. 



Page 244 



S3200XL Operator's Manual - Version 1.00 



GLOBAL 



HARD DISK RECORDING 

The S3200XL is capable of recording audio to a hard disk. You may record audio whilst 
sequencing ordinary programs and samples allowing you to effectively overdub onto disk. This 
may be useful for laying down vocal parts or guitar, saxophone solos and the like over 
sequenced backing tracks. You may also, of course, play back audio from disk whilst running 
programs from a sequencer. 

The hard disk recording functions include: 

Full functional operation of the S3200XL program/multi playback facilities whilst 
simultaneously recording to or playing back audio material from a hard disk with no loss of 
internal RAM. 

Editing of audio material on disk. 

MIDI triggering of takes recorded on disk. 

SONG mode which allows sequential chaining of takes with repeats. 

Advanced editing of take parameters that includes level, pan, fade in, fade out. 

Mono or stereo recording. 

Varispeed playback of recordings from disk 

Disk recordings can be processed on an external mixing console by assigning them to 
individual outputs. 

Disk recordings can be sent to the internal effects unit. 

You can make recordings onto virtually any SCSI hard disk including the Magneto Optical 
disk. 

The hard disk can be partitioned to contain a certain amount of space for sound library and 
a certain amount for disk recordings. The size of each partition may be set by the user. In 
this way, disk recordings can be associated with programs. 

APPLICATIONS 

The disk record/playback functions have many applications: 

Triggering takes whilst sequencing programs. I.e. 'spinning in' backing vocals and the like 
over sequenced backing tracks either live or in the studio. 

Music editing in the form of simple 'topping and tailing' 

Extended remix work using the sequential playback and step repeat capabilities of the 
SONG functions. 

Mastering compilation - i.e. using the disk recording functions to edit and arrange the order 
of your CD or demo cassette, whatever. 



S3200XL Operator's Manual - Version 1.00 



Page 245 



GLOBAL 



FORMATTING THE HARD DISK FOR DISK RECORDING 

Before you can use the disk record functions, it is necessary to format your hard disk. The 
S3200XL allows you to allocate a certain part of your hard disk for sound library and a certain 
part for disk recordings. In this way, you may conveniently have takes and sound library on one 
disk which is particularly useful if you plan to use the disk record functions to 'spin in' 
recordings over sequenced material because you can have takes and the programs associated 
with them on one disk. 



Formatting is done in the SAVE mode. Pressing SAVE and then F6 - IFORMI 
screen: 



will give you this 



FORMAT FLOPPY OR HARD DISH 



part. 



size: 



BLOCKS 
good: 
bad: 



HARD PARTITIONS 
size: 60 Mb 
Fiax: 1 



floppy format density: Willi rSTARTi 

BSfflg EBB EiM EMM E=B=fl form ifqrmi i arr i 



BE CAREFUL TO SELECT THE CORRECT DRIVE NUMBER!!! 



Using the max: field, you may set the number of partitions you require for sound library storage 
leaving the rest of the disk free for disk recording. 

For example, say you have a 300Mb hard disk - you can allocate maybe 4 x 50Mb partitions for 
library leaving 100Mb free for disk recording. This would give you 200Mb for library and around 
10 minutes of stereo recording at 44.1kHz or twice that in mono. You can, of course, set the 
disk up as you like depending on whether you want more or less sound library relative to takes. 

While formatting, a message shows to say: 

FORMATTING (typical 10-30 min) 

to indicate that the disk is being formatted. 

When the formatting process is finished, the screen display will show you how much space is 
available for disk recording. 



VERY IMPORTANT NOTE 

Formatting the disk will, of course, erase everything on it. 

MAKE SURE YOU HAVE EITHER COPIED THE CONTENTS ONTO FLOPPY 
DISK OR HAVE MADE A DAT BACK-UP BEFORE FORMATTING A DISK THAT 

CONTAINS SOUND LIBRARY. 

You have been warned!! 



Page 246 



S3200XL Operator's Manual - Version 1.00 



GLOBAL 



HOW THE DISK RECORD FUNCTIONS WORK 

The S3200XL flowchart is something like this 



INPUTS 















I 








J 


SAMPLE(S) 
RAM 




TAKE(S) 
DISK 


i 








PROGRAM(S) 


















H 










QLIST 




SONG 



The takes can be played in a number of ways: 

Takes may be placed into a Qlist. A Qlist allows you to trigger takes at specific timecode times 
and so is an ideal way of spotting sound effects, music cues, dialogue, etc., to picture. Takes 
may be used alongside programs in a Qlists so that you may trigger sounds from RAM and disk 
simultaneously. Typically, you could use this to trigger short sound effects from RAM whilst 
longer recordings are played from disk. 

Takes can be placed into what we call a SONG and triggered from MIDI. By assigning a take a 
MIDI note number and channel, incoming MIDI can be used to initiate playback. This can take 
place whilst ordinary programs are also being played via MIDI and so, in this way, you could, for 
example, be sequencing several multi-timbral programs as a backing track whilst 
simultaneously 'spinning in' backing vocals, brass riffs, solos, breakbeats, etc., from disk. 



Note: It is also possible to record a take whilst sequencing programs. For example, you may 
record a guitar solo directly to disk whilst listening to sequenced programs coming from the 
S3200XL. 



Takes can also be run sequentially in a song and, in this application, several takes can be 'butt 
edited' to each other and caused to playback sequentially. Furthermore, each step in a song 
may be set to repeat any number of times so this can be used very effectively for the easy 
creation of extended remixes. 

There are some important things to note when using the disk record functions, however. 

1 In order to achieve the disk record functions, the process uses 6 of the S3200XL's voices 
reducing polyphony in this case to 26 voices when recording to or playing back from disk. 



S3200XL Operator's Manual - Version 1.00 



Page 247 



GLOBAL 



2 It is only possible to playback one take at a time from disk - two takes cannot be played 
simultaneously. If another take is triggered whilst another is playing, the new one will take 
priority. Crossfades between takes are therefore also not possible. 

3 When triggering takes via MIDI, there is always a delay in the take playing back. This is due 
to disk access time (i.e. the speed with which the disks heads can find the audio material 
and get it ready to playback). It is possible to accurately set fixed delays so that these can 
be accommodated when triggering takes from, say, a MIDI sequencer and the sequencers 
track shifting functions can cater for this. 

It is assumed you have a basic working knowledge of the S3200XL by now. If you are at all 
unsure about certain functions, please refer to the appropriate section in this manual for more 
information. 



Page 248 S3200XL Operator's Manual - Version 1 .00 



GLOBAL 



USING THE DISK RECORD FUNCTIONS 



Pressing F6 



takes you directly to the disk record functions and will display this screen: 



IHnr-iaaH take: 


■TAKE 1 1 


narce: TAKE 1 


length: 00:01:00 


*exi sting take* 


type: M0H0 


show: MONO 


rate: 44100 


total: 00:43:44 




free: 00:42:43 


takes: 1 


DD BUSH ElSa B3D H5gB D3S3 ESI CEEQ 



Here you may select takes and view their record parameters as well as select new takes for 
recording or deletion, etc.. To return to the main GLOBAL functions, press the GLOBAL mode 
key. 

The fields on the DD page are: 

take: This shows the name of the currently selected take and you may select others 

by scrolling through them with the DATA control. If this is the first time you 
have used the disk record functions or you are using a freshly formatted disk, 
the name field will be blank. 

nane: This shows the name of the selected take and here you may copy or rename a 

take. To copy or rename a take, press the NAME key (this field will become 
highlighted and - new nane - will be displayed beneath as soon as a 
unique name is created) and type in a new name fro m the fr ont pan el and then 
press ENT. To copy or rename the take, simply pressEEEYl (F6) or I REM I (F7) 
as appropriate. If you change your mind, press IEHITI to abort the naming 
process. You may also select takes from here by typing in their names and 
pressing ENT but remember that the name you type must be the correct one 
for an existing take otherwise you will be creating a new take. This will be 
indicated by this field displaying - new naroe - . 

show: This allows you to see the free time left on disk or the amount of disk space 

used expressed as mono or stereo. For example, if you have 10 minutes free 
on disk when STEREO is selected here, if you select MONO, the free: field 
(described below) will show 20 minutes. 

No other fields are accessible but merely show the takes parameters. These are: 

length: This shows the length of the currently selected take. 

type: This shows whether the take is a stereo or mono recording. 

rate: This shows the take's sampling rate. 

These parameters are explained in detail later in this manual. The other fields are: 

total: This indicates how much disk space has been allocated for disk recording. 

free: This shows how much space is left on the disk for recording. 

takes: This shows how many takes are on disk. When you use the disk record 

functions for the first time or use a freshly formatted disk, this field will show 0. 



S3200XL Operator's Manual - Version 1.00 



Page 249 



GLOBAL 

Pressing F7 (EBE1I) will display this screen: 



HARD DISK CONTROL 



SCSI driue ID: 5 
local SCSI ID: 6 
SCSI driue sector size: 512b 

MO driue-^fan: OH 

■aa Eirna aiaa @aH Eaga oasg scsi n?Fn 



The parameters on this page are used to set SCSI ID's. The most important parameters you 
need to know about are SCSI driue ID: and SCSI driue sector size:. 

SCSI allows up to 8 devices to be on the buss and these each have a unique number 0-7 (it's 
similar to the concept of MIDI channels). In order for one SCSI device to 'talk' to a hard drive, 
their SCSI ID's must match. The SCSI driue ID: field sets the SCSI ID for the sampler's 
SCSI interface and hence the SCSI ID of the drive you will record to and playback from. The 
default setting in the SCSI driue ID: field is 5. This parameter must be set to match that of 
the drive. For example, if your external drive is 1 , this parameter must be set to 1 . You may, if 
you wish, have several drives connected and each of these must have different SCSI ID's. 
Each one can be selected by changing the ID number in the SCSI driue ID: field. 

The SCSI driue sector size: field allows you to switch between the different MO formats 
of disk. There are two - 512Bytes per sector and IkByte per sector. Both offer the same 
storage, they just have different sector sizes. The S3200XL can use both and this is selected 
in this field. The default is 512b. 

The local SCSI ID: field sets the S3200XL's SCSI ID (as distinct from the sampler's SCSI 
interface's ID) and is used when communicating between samplers or computer editors over 
SCSI. 

If you have the optional SONY HS-D650 3.5 inch magneto optical drive fitted internally in the 
S3200XL, the MO driue: field allows you to turn this off in software. Three options are 
available. The first is OH which leaves the MO drive operating at all times. However, because 
the drive can be noisy due to the fans required for cooling, when not in use, you may like to 
turn it off. This can be done in two ways. Firsly, you may set this parameter to AUTO which will 
turn the MO drive off as soon as you attempt to make a smple in the REC page of SAMPLE. In 
this way, the noise of hte driver's fan will not spill over into your smple if you are using a 
microphone in the same room sa your S3200XL. As soon as the smple has been recorded, the 
drive switches back on immediately. The other option is OFF which, as the function implies, 
turns the drive off completely. Please note that this does not apply to external MO drives that 
may be connected. 

The soft keys on these pages are: 

Takes you to the DD TAKES page. 

This takes you to the SONG mode where you may compile takes for sequential 
playback or MIDI triggering. 

QUO This takes you to the play pages where you may play takes. 

I3SIU This takes you to the take editing display. 

Q3§9 Takes you to the record setup page. 

tSSSS Takes you directly to the record page for recording new takes. 



Page 250 S3200XL Operator's Manual - Version 1 .00 



GLOBAL 



Takes you to the HARD DISK CONTROL page (see above). 



LEELJ This allows you to delete a take off disk. 

At any time, you may play the selected take by holding down the ENT/PLAY key. The take will 
only play for as long as you hold the key down. 

CREATING NEW TAKES 

You may create a new take for recording in the DD TAKES page if you wish simply by typing in a 
new, unique name. Whether the take is an existing one or a new one will be indicated in the 
display. 

COPYING TAKES 

You may copy takes only within this DD page. This is d one by pressing the NAME key, typing in 
a unique name and pressing ENT/PLAY followed by iCQPYl The process takes a little longer 
than actual recording. 

RENAMING TAKES 

Takes may be renamed only in the DD page. This is done by pre ssing the NAME key, typing in 
a new, unique name and pressing ENT/PLAY followed by I REM I . 

DELETING TAKES FROM DISK 

You may delete takes from within the DD page. This is done by pressing F8 - LEELJ. The 
display will prompt you: 

|T! DELETE THE TAKE ! ! ?? YES EXIT~| 

Pressing YES will delete the take from disk. Pressing EXIT will cancel the deletion. Be very 
careful using this feature as deleted takes cannot be retrieved. 



S3200XL Operator's Manual - Version 1.00 Page 251 



GLOBAL 



MAKING A RECORDING ^^ 

To prepare for a recording, press ISSSS in any of the DD pages. You will receive this screen 
display: 



inn PFnnpn SFTMP^^MHBlTQk-F 1 ■ 


node: MONO 


free: 00:43:44 


source: ANALOG ELEC 


length: 00:01:00 


start: START SONG 


note: C_3 ch: 16 


predel: 400nS 


stereo: 50 pan: MID 


FX bus: OFF send: 00 


output: 50 to: 7-^S 


msem @aaa eisa imd dreg nga§ law 



This is the disk record set-up page and here you may select and create takes to record as well 
as set their record parameters. The fields are: 



take: 



node: 



source: 



start: 



This shows the currently selected take. To select another, you can either scroll 
through the takes on disk using the DATA control or type in their names from 
the front panel by pressing the NAME key, typing in the name and then 
pressing ENT. You may also create new takes for recording in the same way 
but by entering a unique take name. 

This selects whether the recording will be in mono or in stereo. 

This selects the input for the recording - whether it will be through the 
analogue inputs on the front panel or via the digital audio interface. The 
selection choices are ANALOG or DIGITAL. When DIGITAL is selected, you 
may select ELEC (electrical - i.e. the jack sockets) or OPTI (the optical input) on 
the digital I/O. 

This selects the method by which recording will commence. The options are: 

INPUT LEUEL - This will cause recording to commence once a certain 
threshold level has been exceeded. The threshold level is set in the TAKE 
page (see below). 

FOOTSUITCH - This will cause recording to be initiated when the footswitch is 
pressed. 

MIDI NOTE - This selects that a MIDI NOTE will initiate recording. The MIDI 
note number is set in the NOTE field described below. 

M.NOTE+DEL - This selects that recording will start when it receives a MIDI note 
but with an offset as set in the DELAY field described below. The MIDI note 
number is set in the NOTE field described below. 



predel: 



START SONG - This selects that a MIDI SONG START command will initiate 
recording. 

This allows you to set an offset for the MIDI note reception when M.NOTE+DEL 
is selected in the start: field. 



Page 252 



S3200XL Operator's Manual - Version 1.00 



GLOBAL 



NOTE: Because it takes time for a hard disk to actually find the data and play it back, it is 
necessary to be able to set a fixed offset so that the disk always has enough time to find the 
take and play it back in sync with any other material that may be playing (for example, when 
sequencing programs in the S3200XL). The DELAY field is of use in that you can set the 
S3200XL to start recording after a certain delay when it receives a MIDI note-on. This same 
note-on can then be used to playback the take in sync with other material. 

By setting a fixed offset of, say, 400mS in the DELAY field and advancing the MIDI note-on in 
the sequencer by the same amount (i.e. making it 400m S earlier), you can start recording at a 
predetermined time. After you have made the recording, you can have that take play back from 
the same point. The SONG mode (described later) always uses these delays to ensure 
accurate synchronised playback so being able to select to initiate recording with a fixed delay in 
the RECORD SETUP page allows you to record a take with the offset and then assign it to a 
SONG (where the offset is always used) without constantly having to re-edit the position of the 
note on your sequencer. 



FX bus: This allows you to route the take to one of the four effects channels FX1 , FX2, 

RV3 or RV4. 



send: 



This allows you to set the send level of the take to the effects channel 
selected in the FX bus: field. 



free: 
length: 



note: 



ch: 



This shows the amount of free time left on disk. 

Here you may set the length of the recording you wish to make. If you are 
unsure of the length of the recording you are about to make, simply set a long 
record time. Wasted disk space can always be edited out and retrieved 
afterwards in the EDIT page. 

This field sets the note that will initiate the recording when either MIDI NOTE 
or M.NOTE+DEL is selected in the start: field. It also sets the note that will 
trigger playback after it has been recorded. This may be edited after you have 
made the recording if you wish. 

This is an abbreviation of CHANNEL and sets the MIDI channel for the 
recording when triggering from MIDI. The default is 16 but you may select from 
1-16. 



stereo: This sets the playback level of the recording. This does not affect the record 

levels which are set using the front panel REC LEVEL control. 

pan: This sets the pan position of a mono recording and the left/right balance of a 

stereo recording. 

output: This sets the level of the signal that will be sent to the assignable individual 

outputs. 

to: This sets the destination of the take. The default is OFF but you may set these 

to any of the individual outputs you want. You will note that the individual 
output assignment is done in pairs-i.e. 1/2, 3/4, 5/6, 7/8. If the take is stereo 
then it will be reproduced in stereo through these outputs. If the take is mono, 
it will appear in mono through both outputs. If, however, the take is mono but 
you only wish to use one output (perhaps in order to use the other outputs for 
programs), then select the appropriate pair but set the pan: parameter to L50 
or R50 accordingly. If you wish the take to only appear at the individual 
output(s) you have selected, please set the stereo: parameter to 00 - this will 



S3200XL Operator's Manual - Version 1.00 



Page 253 



GLOBAL 



mix the take out of the stereo outputs and so it will only appear at the individual 
outputs selected here. 

At any time, you can audition an existing take by pressing the ENT/PLAY key which will cause it 
to play back. 



Page 254 S3200XL Operator's Manual - Version 1 .00 



GLOBAL 

The soft keys in this page are: 

This takes you to the DD TAKES view page 

This takes you the SONG mode where you may compile takes for sequential 
playback or MIDI triggering 

tiiMSfll This takes you to the play page where you may play takes 

I3SIU This takes you to the take editing display 

DREC Shows the currently active page 

USSS Takes you directly to the record page for recording new takes 

1=319 Takes you to the BACK-UP LOAD page where you may restore takes backed 

up to DAT. 



S3200XL Operator's Manual - Version 1.00 Page 255 



GLOBAL 



RECORDING A TAKE 

Actual recording is done within the TAKE page. Pressing VS33 - F6 - gives you this screen 
display: 



\SmS3SSSa node: IMUH TAKE 1 

-20dB free: 00:28:49 length: 00:01:00 


D 




■gM HiBia rawgra raan msas w\rn^Morr\rmK\ 



This is very much like the record page you will probably already be familiar with in the sample 
recording pages. It shows you the type of recording you are about to make (i.e. stereo or 
mono), the take name, the threshold level (if INPUT LEVEL is selected in DREC), the free time 
left on disk and the length you have set for the new recording. With the exception of the free: 
field, all of these parameters may be changed prior to making a recording. You may also create 
a new take to be recorded by pressing the NAME key, typing in a suitable name and pressing 
ENT. 

To setup for a recording, set the levels by playing the source to be recorded and adjusting the 
front panel REC LEVEL control - the incoming signal level will be shown in the bargraph display 
to the left of the LCD. If you have selected to start recording using INPUT LEVEL in the DREC 
page, you should set the threshold level by moving the cursor to the field marked -20dB and 
adjusting it accordingly. 

To initiate a recording, press I RRM I. You will receive this screen display: 



IfladJBBdfl node: IBWSW 
-20dB free: 00:28:49 


TAKE 1 
length: 00:01:00 


D 




WRITING FOR START 


GO EXIT 



Here, the S3200XL is either waiting for a MIDI NOTE or a SONG START command or for the 
input level to exceed the threshold level. This all depends on the type of START you have 
selected in DREC. You may manually initiate a recording by pressing GO (F7). You may cancel 
this display by pressing EXIT (F8). 

If the take selected for recording already exists when you press ARM you will receive this 
prompt: 

| ! ! ERASE EXISTING TAKE ! ! ?? YES EXIT | 

You may respond accordingly. Pressing YES (F7) will cause the existing take to be erased and 
replaced with the new one you are about to record and pressing EXIT (F8) will take you back to 
the TAKE screen shown above where you may create a new take for recording. 



Page 256 



S3200XL Operator's Manual - Version 1.00 



GLOBAL 



When a recording is being made, the screen shows the incoming waveform as it is being 
recorded. I.e: 



IflaflJBMflfl node: MONO 
-20dB free: 00:28:49 


TFIKE 1 
length: 00:01:00 


Ifcfc* 


RECORDING RNRL06 


FINISH 



You may stop recording by pressing F8 at any time. 

If you are going to record digitally, when you enter the DD RECORD page, the screen will 
show: 



IfladJBBdfl node: MONO TAKE 1 

-20dB free: 00:28:49 length: 00:01:00 


g 

1 


carrier - 44- Ik HZ 


E&a sasu Hiaa nan H3ia eeje dms cbehu 



or whatever sample rate is being received. 

If no digital connection has been made or has become disconnected, the display will tell you: 

IHufllTIHG FOR CARRIER 



EJEH BEH EJHi \BS3Si imetri iriof f i i arm i 



Please check your digital connections. 

When recording digitally, the bottom line of the display shows: 



EEEgSHgJ] node: MONO TAKE 1 

-20dB free: 00:23:49 length: 00:01:00 

or 




RECORDING digital at 44.1 kHZ 



FINISH 



and the screen draws the incoming waveform envelope as it is being recorded. 
Once a recording has been made, you may use the ENT/PLAY key to play it back. 



S3200XL Operator's Manual - Version 1.00 



Page 257 



GLOBAL 



The soft keys in the DD RECORD page are: 

This takes you to the DD TAKES view page 

This takes you the SONG mode where you may compile takes for sequential 
playback or MIDI triggering 

tiiMSfll This takes you to the play pages where you may play takes 

I3SIU This takes you to the take editing display 

GHMU Takes you back to the RECORD SET-UP page 

IMETRI Turns the audio meter on 

IMoffl Turns the audio meter off 

I RRM I This puts the S3200XL into a 'record ready' state awaiting the arrival of a 

suitable record start command depending on the setting of the START field in 
DREC 



Page 258 S3200XL Operator's Manual - Version 1 .00 



GLOBAL 



EDITING A RECORDING 

After you have recorded a take, you may need or want to edit it. This is done by adjusting the 
take's start and end times and is done within the EDIT page. Pressing F4 - 13911 - in any of the 
DD pages will display this screen: 



TAKE 1 



: 00:00:00 ^00:02:00^ 

start: 00: 00: 00: 02.3 end:00:00: 1 1:22.2 




BBJH HJSH EDIT I Zin I IZouTI ISOEI ITDT1 



When you enter this page, you see a graphic representation of the take's waveform and you 
may move the start and end points around freely. The start and end points are shown both as 
time values in the start: and end: fields respectively and are also shown as flashing vertical lines 
in the waveform display. You may zoom in or out on a waveform for greater editing accuracy. 
The fields are as follows: 



*-00: 02s <)<>-► 



TAKE 1 



start: 



: 00:00:00 This shows the 'now' position of the left edge of the screen. By 

adjusting this parameter, any part of the waveform can be placed as 
the 'now' position. Used in conjunction with the zoom in and zoom out 
keys, this function can be used for identifying key points in a take you 
want to edit without upsetting the start and/or end marks. When the 
cursor is placed on this field, pressing ENT/PLAY will cause the take to 
play back from the left of the screen - i.e. the cursor will play from the 
'now' position up to the end mark. 

This shows the 'width' of the screen display in time. Here it is showing 
that the whole screen width is equivalent to 2 minutes. As you zoom in 
and out, this field changes to show the equivalent size of the screen. 

This shows the name of the take selected for editing. You may select 
another by scrolling through the available takes. 

This allows you to adjust the start time of the take. As you adjust this 
parameter, a flashing vertical cursor moves across the waveform 
display. You will note that if you move the start point past either 
extreme of the waveform display, the waveform will scroll. When the 
cursor is on this field, pressing ENT/PLAY will cause the take to play 
back from the start point set here. 

This sets the end point of the recording. As you adjust this field, a 
vertical flashing cursor moves across the screen. If the end point is 
moved past either extreme of the waveform display, the waveform will 
scroll. When the cursor is on this field, pressing ENT/PLAY will cause 
the take to play UP TO the end point from the point shown on the far 
left of the screen and you can use the ZOOM IN/OUT functions as a 
variable pre-roll function. For example, if you want to audition the last 
ten seconds or so of a take to check if your end point edit is 
satisfactory, use the ZOOM keys to set a value close to this in the 
^00: 02: 00^ field and press the ENT/PLAY key. 

You may quickly switch between the start and end fields by pressing thel£iJ£lkey. 



end: 



S3200XL Operator's Manual - Version 1.00 



Page 259 



GLOBAL 



The soft keys in the EDIT page are: 

This takes you to the DD TAKES view page 

This takes you the SONG mode where you may compile takes for sequential 
playback or MIDI triggering 

\SMSU This takes you to the play pages where you may play takes 

EDIT Shows the currently active screen 

iZin I Allows you to zoom in on a waveform for greater editing resolution 

IZauiJ Allows you to zoom out of a waveform for a more general overview of the take 

ESJD This toggles the cursor between the start and end marks 

I CUT I This will cause data either side of the start and end points to be discarded thus 

trimming the take. This is a destructive process so be careful when using this 
function 

PLAYING A TAKE IN THE EDIT PAGE 

As in all other DD pages, it is possible to play a take directly by holding down the ENT/PLAY 
key. In the EDIT page, however, when the take is actually playing, a flashing vertical cursor 
moves across the screen. When you take your finger off the ENT/PLAY key, playback stops 
and the play cursor stays at the point where it is stopped. You can use this position to place the 
start or end mark at a suitable position. There are other differences as discussed above but to 
recap: 

1 : If the cursor is on the : 00:00:00 field, pressing ENT/PLAY will cause the take to playback 
from the point shown on the left of the screen regardless of the setting of the start field. Use 
this as a means of playing back from anywhere in the take without upsetting edit points. 

2: If the cursor is on the end field, pressing the ENT/PLAY key will cause the take to playback 
from the point shown at the left of the screen up to the end point. You can use this facility to 
audition the end of an edit and use the ZOOM IN/OUT as a variable pre-roll function. 

USING THE EDITING FUNCTIONS 

The editing functions have been kept deliberately simple to use. Basically, you can trim a 
recordings start and end points and, to assist in this, a graphic representation of the waveform 
is shown. 

Once you have successfully made a recording, the chances are you will want to edit it so go to 
the EDIT page. Move the cursor to the START field and adjust the start time so that cursor is 
right at the start of the take. You may use the editing of the start point as well to edit out count- 
ins to a song or breaths from a backing vocal 'spin in' or whatever. Of course, you can zoom in 
for greater accuracy. 

You may audition your edit at any time simply by pressing the ENT/PLAY key. 

Once you have successfully edited the start m ark, move the cursor to the END field either by 
using the cursor keys or by pressing the EUD soft key and you may set a suitable end point, 
again, zooming in for greater editing accuracy. Again, use the ENT/PLAY key to hear the result 
of your edit. Of course, in the case of a very long take, it is very inconvenient to have to hear all 
of it just to check the end point. When the cursor is on the END field, pressing the ENT/PLAY 
key will cause the take to play back from the left side of the screen only. In this way, by 



Page 260 S3200XL Operator's Manual - Version 1 .00 



GLOBAL 



adjusting the zoom factor accordingly, you may use this as a form of pre-roll so that you only 
need to audition the last 10 or so seconds of the take in order to assess your end point edit. 



HELPFUL HINT: If you are editing a take for use in a song where takes are sequenced, you 
might find it helpful to quickly place the edit you are working in an empty song and have it 
repeat a few times. If it cycles round with no glitches or tempo disruption, then you probably 
have a good edit that will work well with other takes appended to it If there is a glitch on the 
repeat, return to this EDIT screen to fine tune the start and/or end points. The process can be 
a bit hit-and-miss but as all editing is non-destructive here, it certainly beats using a razor blade! 



Once you have decided that the edit you have done is right, you may wish to discard the 
unwanted portions in order to free up disk space. 



IMPORTANT NOTE: 

when using it!! 



The discard function is destructive and non-retrievable. Be careful 



HELPFUL HINT: If you are recording in small sections to be compiled as a song later on, 
please be careful when using the discard function. For example, you may make an edit which, 
in isolation in the EDIT or PLAY pages, sounds fine but glitches slightly and needs adjustment 
when playing back-to-back with another take in the SONG mode. If you use the discard 
function, you may lose the ability to adjust the edit at a later stage. It is recommended, 
therefore, that you don't use the CUT function until you have successfully compiled your 
song. 



Of course, you may want to set a start point some way into the recording. An easy way to do 
this is to press the ENT/PLAY key and let the take play back up to the point where you want to 
set the start point. When you take your finger off the ENT/PLAY key, the play cursor will stop at 
that position and you can move the start point to that position. It is unlikely that such an edit will 
be particularly precise but you can zoom in for more precise editing. The same thing can be 
done when editing the END point. 



S3200XL Operator's Manual - Version 1.00 



Page 261 



GLOBAL 



PLAYING TAKES 

There are a number of ways you can play a take within the S3200XL's DD functions: 

1 You can play a take in ANY page using the ENT/PLAY key 

2 You can assign a series of takes to a SONG for sequential playback or for triggering from 
MIDI. 



3 You can play 'raw' tak es from within the PLAY page and this is accessed in any of the DD 
pages by pressing F3 - \SSSU Pressing this soft key will give this screen display: 



IDD PLAY/PARAMETERS 


■HUM 1 MKL 


i 




sarop-rate: 


44100Hz 


start: 


M.NOTE+DEL 


uarispeed: 


+00.00* 


predel 


ay: 


400nS 




fade in: 


lOnS 


note: 


C_3 


ch: 


16 


fadeout: 


50nS 


stereo: 


50 


pan: 


MID 


FX bus: OFF send:00 output: 


50 


to: 


7^8 


ebi @aaa play imd raaaa nasi lana ifkhei 



In the PLAY page, you may audition 'raw' takes using the START option selected during the 
record process. The fields on this page are as follows: 

take: This shows the selected take. You can select other takes for playback by 

scrolling through them using the DATA control. 

sarop. rate: This shows the sampling rate at which the selected take was recorded. If the 
take is an analogue recording, this will always show 44100Hz. If the take was 
recorded digitally it will show the rate at which it was recorded (i.e. 32kHz, 
44.1kHz or 48kHz). You may adjust this in the event that a take recorded 
digitally was, for some reason, recorded at the wrong sampling rate. 

yari speed: This allows you to set the playback rate for the selected take and may be used 
like a tape machines varispeed control. Normally, this will be 00.00% but, for 
special effects, you may wish to set a playback rate that is different to the takes 
sampling rate. This parameter may be adjusted in real-time as the take is 
playing. 

fade in: This allows you to set a fade-in time for the take. The range is 0-9999 

milliseconds (i.e. to 10 seconds). 

fadeout: This allows you to set a fade-out time for the take. The range is 0-9999 

milliseconds (i.e. 0-10 seconds). 

FX bus: This allows you to route the take to one of the four effects channels FX1 , FX2, 

RV3 or RV4. 



send: 



This allows you to set the send level of the take to the effects channel 
selected in the FX bus: field. 



start: 



Here, you can set the method by which a take will commence playback. The 
options are: 

IMME DIATE - This will cause the take to commence playback as soon as you 
press IFEF1E1 - F8. 

MIDI NOTE - This will cause the take to playback whe n it rec eives the MIDI 
note number set in the note: field described below after IFRMEI is pressed. 



Page 262 



S3200XL Operator's Manual - Version 1.00 



GLOBAL 



M.NOTE+DEL - This will cause the take to play back upon receipt of a suitable 
MIDI n ote but with a delay offset set in the delay: field described below. If 
IFRMEI is pressed, however, playback is immediate in the PLAY page. 

START SONG - This will caus e the t ake to playback when it receives a MIDI 
SONG START command after IFRMEI is pressed. 



NOTE: In all the above selections, the IERMEI key must be pressed before a take is played. 



predelay: This sets the delay offset used for triggering a takes playback when 
M.NOTE+DEL is selected in the start: field described above. 

note: This allows you to set which MIDI note will cause the take to playback when 

MIDI NOTE or M.NOTE+DEL is selected. 

ch: This allows you to set the MIDI channel for the take. In this way, you can set a 

specific MIDI channel for the MIDI triggering of takes. 

stereo: This field allows you to set the playback level of the take. 

pan: This allows you to set the pan position of a mono recording or the left/right 

balance of a stereo recording. 

output: This sets the level of the signal that will be sent to the assignable individual 

outputs. 

to: This sets the destination of the take. The default is OFF but you may set these 

to any outputs you want. The level at which they will appear at the individual 
outputs or the effects is set in the output: fj e ld. 

The soft keys on this page are: 

This takes you to the DD TAKES view page 

This takes you the SONG mode where you may compile takes for sequential 
playback or MIDI triggering 

PLAY Shows the currently active page 

S3D This takes you to the take editing display 

19339 This takes you to the recording set up page 

tSSSS Takes you directly to the record page for recording new takes 

l=l!A=] Takes you to the BACK-UP SAVE page where you may archive takes to DAT 

via the digital audio interface. 

IFRMEI This primes the take for immediate playback from within this page 



S3200XL Operator's Manual - Version 1.00 Page 263 



GLOBAL 



USING THE PLAY PAGE 

Although you may play takes from within any page of the DD functions and whilst the SONG 
mode is provided either for sequential playback of many takes 'back-to-back' or for setting up 
lists of takes that you may wish to trigger from MIDI, the PLAY page is provided for playing 
individual takes in isolation and for setting their playback parameters prior to assigning them to 
a song. 

Assuming you hav e succ essfully recorded and edited a take, to play it back from the PLAY 
page simply press IFRMEI (an abbreviation of 'prime'). This gets the S3200XL ready for the 
incoming MIDI note or song start command by searching for the take selected here. You will 
receive this screen display: 



IDD PLAY/PARAMETERS 


KPISItpke" 


i 




sarop.rate: 


44100Hz 


start: 


M.NOTE+DEL 


uarispeed: 


+00.00* 


predel 


ay: 


400nS 




fade in: 


lOnS 


note: 


C_3 


ch: 


16 


fadeout: 


50nS 


stereo: 


50 


pan: 


MID 


FX bus: OFF send:QQ output: 


50 


to: 


7^8 


M5M ehi@ play nan reraaa naaa rana ifpftfi 



As soon as it receives the appropriate signal (i.e. that set in the start: field), it will start playing 
back. As it is playing, the display will show: 



| Playing take:- TAKE 1 



STQF | 



You may press F8 - STOP - at any time to stop playback of the take. You may adjust any of the 
parameters in the PLAY page as you wish and these are automatically saved as soon as you 
leave this page. 

If the take does not play back successfully, the reason is probably that the S3200XL has not 
received the appropriate start command as set in the start: field. For example, if MIDI NOTE 
is selected and C3/Channel 16 is set but, for some reason, the sequencer does not send this 
note on this channel (i.e. maybe the track set aside for take triggering on your sequencer has 
been muted or switched off or the wrong note or channel are being transmitted), the selected 
take will not play back. Similarly, if you have selected START SONG to trigger the take but your 
sequencer does not send out a START SONG command in certain modes of operation, the 
take will not trigger. 



NOTE: Akai MPC60 owners will please note that a START SONG command is only issued 
when the MPC60 is in its SONG mode. If you revert to the main screen to play an individual 
sequence, the START SONGse/ecf/on will not be operative. The same is true of other 
sequencers so please check your sequencer's manual for more information. 



Page 264 



S3200XL Operator's Manual - Version 1.00 



GLOBAL 



EDITING A TAKE FOR SYNCHRONISED PLAYBACK 

When you make a recording that needs to be synchronised to other audio material (such as 
sequenced programs, etc.), providing you make the recording referenced to the other audio, 
there should be no need to worry about synchronisation and the S3200XL will follow exactly. 
There may be instances, however, where some adjustments need to be made and this can be 
done in the following ways. 

1 If the start: selection is M.NOTE+DEL, you may adjust the DELAY parameter in millisecond 
steps to achieve accurate playback start times. 

2 If the start: selection is M.NOTE+DEL, you may shift the note or track within your 
sequencer. 

3 Whatever the start: selection is, you may use the EDIT page to trim a take for better 
playback start synchronisation. 

4 If the take 'wanders' during playback, this will be because the external reference's clock is 
not stable. For example, if you record a take referenced to an external sequencer playing 
programs in the S3200XL but, after recording has been done, the take wanders out of 
sync after a few minutes, it is most likely that the sequencers clock is not entirely accurate 
and so, eventually, the two will drift apart. In this case, use the uarispeed: parameter to 
adjust the takes playback speed by minute amounts. Unfortunately, there are no 
guidelines on setting this up. You will have to make an adjustment, see if it improves - if it 
does not, you will have to try again with a new value. All being well, however, this is only 
likely to occur if you use a different sequencer to that which was used during the record 
process. 



NOTES ABOUT SYNCHRONISING TO EXTERNAL AUDIO 

In most cases, there should be no problems in synchronising takes to external audio material 
because the playback response time of the S3200XL is extremely fast and sync accuracy is in 
the region of a few milliseconds. Also, the take editing and parameter adjustments described 
above should overcome any discrepancies you may encounter. 

You will note, however, especially when running takes alongside sequenced material that if 
you change the tempo of the sequence, the takes will be completely out of sync, even if the 
tempo change is very small. Of course, you can use the VARISPEED control to bring them 
back in sync but then, of course, they will be out of tune with each other unless you transpose 
or re-tune all the sequenced material. Be sure to only make recordings once you have finally 
settled on the tempo of your sequencer. 

Similar considerations must be borne in mind when syncing takes to other audio material such 
as material off tape. If you use varispeed on the tape machine, you will have to set a suitable 
varispeed setting on the S3200XL to accommodate this. Another consideration is that tape 
transports are rarely 100% stable so if you are running a sequencer synchronised to code on 
tape and also running takes from the S3200XL's disk, you may find that takes will wander 
slightly out of sync, especially if that are long recordings. 



S3200XL Operator's Manual - Version 1.00 Page 265 



GLOBAL 



USING THE SONG MODE 

The SONG mode is where you can compile a list of takes for playback. The SONG mode has 
two functions, in fact. You may use the SONG mode to compile a list of takes for triggering from 
MIDI notes or you may use the SONG mode to append and playback a sequence of takes 
'back-to-back'. The first application, triggering from MIDI, is most likely going to be used when 
'spinning in' recordings from a sequencer over other sequenced material. In this way, you may 
set aside one or more tracks on your sequencer for playing back audio over a sequenced 
backing track. The other application, sequencing takes, is for creating alternative and 
extended song remixes. 

CREATING A SONG 

Regardless o f the a pplication you have in mind, the method for creating a song is identical. 
Pressing F2 - HJliH - in any of the disk record pages will give you this screen: 




TL1 



nt ch ly pan fin fout rp 
? C_3 1 50 MID 10 50 1 



B@a heh nan Haia naaa 



mm 



This shows a b lank, e mpty song file. Nothing can actually be done here. To create a song, you 
must press F2 HM3 to take you to the SONG EDIT page as this is where all the work takes 
place. 

Pressing F2 gives this screen display: 




TL1 



nt ch ly pan fin fout rp 
? C_3 1 50 MID 10 50 1 



Buna law-M ssa ihheei ietcei rmgin^Fin 



The fields across the top of the screen are as follows: 

TL1 This is the name field for the song. Names of up to twelve characters can be 

entered here in the normal way by pressing NAME, typing in the name and 
pressing ENT/PLAY. 



nt 

ch 

lv 
pan 

fin 



NOTE - This sets the MIDI note that the take will be triggered by. This 
parameter has no function when sequencing takes. 

CHANNEL - This sets the takes MIDI channel. This has no function when 
sequencing takes. 

LEVEL - This sets the playback level of the take. 

PAN - This sets the pan position of the take if it is a mono recording or sets the 
left/right balance if it is a stereo recording. 

FADE IN - This sets the fade in time for the take and is variable up to 9999mS 
(10 seconds) 



Page 266 



S3200XL Operator's Manual - Version 1.00 



GLOBAL 



fout 



FADE OUT - This sets the fade out time for the take and is also variable up to 
10 seconds. 



rp 



REPEAT - Although not operative when triggering takes from MIDI, this field 
sets the number of times a take will repeat itself when you run it as a SONG 
from the RUN key (see below for more information on this function). 



You will have to excuse the somewhat cryptic and abbreviated nature of these field 
descriptions on the S3200XL's screen but it was felt better to design the screen this way and 
have all these useful functions available within one page rather than you having to keep 
switching back and forth between various pages when trying to compile your takes - this would 
have been highly inconvenient as you can imagine. 



NOTE: Values set in these fields do not affect the 'raw' takes' parameters; these always 
remain the same whatever you set in the SONG mode. In this way, each take in the list can be 
set to its optimum playback characteristics in a song without affecting the raw take. 



Soft keys F1 to F4 take you to different pages. The soft keys F5 to F8 have the following 
functions: 



Era 
ass 



This marks a step in the song for inserting or deleting. 

This allows you to mark a block of cues for inserting or deleting. 

Pressing this will insert the marked step or block at the point of the cursor on 
the scroll bar. 

Pressing this will delete the marked step or block. 



To create a song, whether it is for MIDI triggering or for sequential playback, the method is 
exactly the same. Follow these steps to create a song. 

In the SONG EDIT page, move the cursor to the first empty take field. This is done by moving 
the cursor one position to the right. You will have a screen something like this: 



TL1 



nt ch lu pan fin fout rp 
C_3 1 50 MID 10 50 1 



ebb E=smg ses san beeh eeh qhsu cedzi 



You may now select a take using the data control (or the +/< or -/> keys found on the numeric 
keypad). Having done that, the selected take's parameters will be loaded into the step and so 
the note, level, pan and other fields may change if the raw takes parameters are different from 
those set as the default shown above. You may change these as necessary. Once you have 
assigned your first take, you should receive a screen something like this: 



TL1 



n 



nt ch ly pan fin fout rp 
C_l 16 65 R40 20 50 1 



ebb E=smg ses san beeh eeh qhsu cedzi 



S3200XL Operator's Manual - Version 1.00 



Page 267 



GLOBAL 



If you are triggering from MIDI, you will most likely want to edit the MIDI note and channel and if 
you are creating a song to run takes sequentially, you will possibly want to set a repeat for that 
step. If you are at all unsure of the take you have selected, you can press the ENT/PLAY key to 
audition the selected take. 

There are several ways you can create the next step but the easiest method is probably this: 

Pre ss F5- IMRRKI This will mark the first step and a small block will appear beside it. Now press 
F6 - 1 IMS I (insert) - and this will copy that step and you will see it appear beneath the first step. 
Now press 1 on the numeric keypad to move the pointer down to the new step. You may now 
move the cursor into the take field and select another take as the next step in the list. Of 
course, you may edit that take's parameters if you wish. Repeat the above: 

Press IMRRKI - press I IMS I - press 1 - move the cursor to the take field to select the next step - 
edit the parameters accordingly using ENT/PLAY to audition. 



NOTE: If the cursor is not on the scroll bar down the left hand side of the screen, pressing 
ENT/PLAY will first return the cursor to the scroll bar. Pressing it again will then play the 
selected step. Do not be alarmed if pressing the ENT/PLAY key the first time does not play the 
take. 



You may repeat that process as many times as you like until you have created your song. 



NOTE: If you are creating a song for triggering takes from MIDI, the order in which the takes 
appear is not important. It is probably just as well to keep some semblance of order, however, 
so that it is easier for you to keep track of. For example, it seems pointless putting the last 
chorus's backing vocal in first and the first verse last! 

If, however, you are creating a song for sequential playback, it is necessary to assemble the 
takes in the order you wish them to play back. 



If, at some point, y ou wish to delete a take from the list, simply move the cursor to the required 
step, press IMRRKJ and press LCELJ. 



NOTE: If you do not press UHHEKI you may find that you delete the wrong step. Be careful 
because although this is not ultimately destructive (after all, it's easy enough to insert the step 
back in again) it can be annoying. 



You may give the song a name (if you haven't already) and then save it to disk. 

It really is quite simple and whatever your application, whether it be sequencing takes or 
triggering them, you will soon build up quite complex lists very quickly. Advanced editing such 
as block editing, copying, deleting and shifting are explained later. You will also want to refer to 
the section USING THE KEYPAD TO GET AROUND THE SONG which appears later in this 
section. For the time being, practice the above until it becomes a natural process. 



Page 268 S3200XL Operator's Manual - Version 1 .00 



GLOBAL 



TRIGGERING TAKES FROM MIDI 

This powerful function of the S3200XL's disk recording capabilities allows you to 
simultaneously playback audio from the hard disk whilst sequencing programs in the S3200XL. 
To set up a list of takes for MIDI triggering, press the SONG key (F2 in all disk record pages) to 
get the following screen: 




TL1 



nt ch lu pan fin fout rp 
? C_3 1 50 MID 10 50 1 



B@a EEH S9D EHia D333 



[EH] 



This shows a blank, empty song or take list. To create a new list of takes, press F2 agai n^This 
takes you to the S.ED or SONG EDIT page where you may assemble your list. Pressing EHH 
gives you this display: 




TL1 



nt ch lu pan fin fout rp 
? C_3 1 50 MID 10 50 1 



Buna law-M ssa ihheei ietcei rmgin^Fin 



Here we can see that the first take is blank and has some default parameters assigned to it. 
Assign your takes as described above and edit the parameters if necessary. 

USING MIDI TRIGGERING 

The method for assembling a list of takes for triggering from MIDI is described above. Once you 
have set up a series of takes for MIDI triggering, simply sending the appropriate MIDI notes on 
the selected channel(s) will cause them to play back. Typically, a list of takes for MIDI triggering 
may look something like this: 



f] TL1 
B.UOX 1 
B.UOX 2 
GUITAR SOLO 
BRASS RIFF1 

M3M E@3 HESa S9D 19319 HS33 



nt ch ly pan fin fout rp 
C_l 16 65 R40 20 50 1 
Cttl 16 55 L10 1 
C_3 16 60 MID 10 12 1 
C_4 16 78 MID 20 1 



[EH] 



Here we can see a typical setup for spinning in material over a sequenced backing track. We 
can see that there are two backing vocal recordings which will trigger when they receive C1 and 
C#1 and a guitar solo will start to playback on C3 with a brass riff playing off C4. All the takes are 
on MIDI channel 16 although, in practice, there is nothing to stop you setting different MIDI 
channels for some or all of the takes. For example, you could have set the backing vocals to 
MIDI channel 1 5, the guitar solo to MIDI channel 1 4 and the brass riff on MIDI channel 1 6. In this 
way, you can reserve tracks on your sequencer especially for certain audio parts. This may be 
useful if you need to slip parts using the track shift function on your sequencer. 

In the above example, you can see that some takes have fades set for them. This facility is 
useful for 'softening' the start and end points of a take whose edit may be a bit abrupt. The 
range for both fade in and fade out times are 1 seconds (actually 9999 milliseconds but who's 
counting one millisecond!). To soften an abrupt attack or end, fades of around 5-20 



S3200XL Operator's Manual - Version 1.00 



Page 269 



GLOBAL 



milliseconds will normally do the trick. Fades longer than that can be useful for fading in a take 
or causing a smooth, gradual decay at the end of a take's replay. 

As soon as the S3200XL receives the appropriate note on the appropriate channel (i.e. one 
that is assigned to a take in a song), the following screen will be displayed: 



n tli 


nt ch lv pan 


fin fout rp 


1 B.UOX 1 


C_l 16 65 R40 


20 50 1 


I B.UOX 2 


Cttl 16 55 LIO 


1 


I GUITAR SOLO 


C_3 16 60 MID 


10 12 1 


I BRASS RIFF1 


C_4 16 78 MID 


20 1 


playing take:- 


B.UOX 1 


STOP 



You may either issue a MIDI ALL NOTES OFF command from your sequencer/keyboard or 
specifically press F8 - STOP - on the S3200XL. 



NOTE: To play takes from MIDI in this way, the takes MUST be set to start from MIDI NOTE or 
M.NOTE+DEL in the PLAY page. 



When playing back in this way, triggering from MIDI, there is ALWAYS a fixed delay and the 
delay is that set in the DREC or PLAY pages. Normally, it is probably best to offset the delay by 
the same amount for each take. By doing this, you can shift one or all tracks on your sequencer 
by a consistent amount. If you wish, however, each take may be set to have its own unique 
offset delay which may help in syncing up some takes. Remember that you can use a 
combination of your sequencer's track shifting and the variable delay parameter to get takes 
exactly in sync. For example, your sequencer's track shifting functions may not offer enough 
resolution to obtain precise triggering of the take(s). In this case, adjust the take's delay time in 
milliseconds to obtain precise sync. 



HELPFUL HINT: If your sequencer does not have a wide enough range for shifting a track, 
why not insert a blank bar or half bar at the beginning of the sequence and then delete that bar 
only on the track(s) devoted to triggering takes. You can then use the S3200XL's MIDI delay to 
offset the triggering time. 



One thing to remember, of course, is that if you wish to trigger the same take several times (i.e. 
in the case of a backing vocal you wish to spin in over every chorus), you do not have to specify 
it in the list several times when triggering it from MIDI. You only need to select it once and, 
when the S3200XL receives the appropriate note, that take will play. 



You will note that, when triggering takes from MIDI, the repeat field has no function 
use when running takes sequentially in a song (see below). 



this is for 



Page 270 



S3200XL Operator's Manual - Version 1.00 



GLOBAL 



IMPORTANT NOTES ABOUT TRIGGERING TAKES FROM MIDI 

When triggering takes from MIDI, if you stop the sequencer and restart it somewhere in the 
middle of where a take should be playing, it will not sound. This is because it requires the MIDI 
note-on to trigger it. In such circumstances, it will be necessary to 'rewind' the sequencer to a 
point somewhere before the MIDI note to ensure that the take receives the note on and will 
trigger. The same, of course, is true if you are running your sequencer synchronised to tape 
and triggering takes from MIDI. If you stop the tape, you will need to rewind it to a point before 
the MIDI note required to trigger the take 

When a take is triggered from a MIDI note, when you stop the sequencer, assuming your 
sequencer sends out a MIDI ALL NOTES OFF command, the take will stop playback. If 
however, your sequencer does not issue an ALL NOTES OFF, the take will continue to play 
but you may specifically stop playback from the S3200XL front panel using F8 - STOP. 

Because the S3200XL can only play one take at a time, crossfading between takes is not 
possible. Also, if one take is playing while another is triggered, the new take will take priority 
although please note that there will be a short gap between the one take finishing and the next 
take starting. 



S3200XL Operator's Manual - Version 1.00 Page 271 



GLOBAL 



USING THE SONG MODE TO CHAIN TAKES 

This mode of operation allows you to playback takes sequentially 'back-to-back'. This mode will 
be invaluable to remix engineers for the creation of extended remixes. It will also be of use to 
jingle writers and TV theme music writers who often have to provide several versions of one 
piece of music with different lengths. 

The simplest method of using the song mode is to 'top and tail' an entire recording (i.e. record 
an entire song into the S3200XL and edit its start and end points) and have it play back from 
within the SONG mode. At a more advanced level, you could use the SONG mode to play back 
a whole series of entire songs recorded and edited this way and the SONG mode can be a 
convenient method of sequencing the tracks on an album. A more advanced application for 
the song mode, however, is to create extended remixes. A typical song will look something like 
this: 



n tli 


nt ch lv pan fin fout rp 


2 INTRO 1 


C_3 16 65 R40 20 50 1 


I INTRO 2 


C_3 16 55 L10 2 


I INTRO 1 


C_3 16 60 MID 10 12 1 


I UERSE 1 


C_3 16 78 MID 20 1 


I BREAK 


C_3 16 60 MID 10 12 4 


msM Hia wsa mui \mh\ itisa i ileuhi 



Normally, the takes will be recorded onto disk in sections, one by one, edited and then 
compiled into a song within the S.ED page. Here we see a series of such takes running 'back- 
to-back' to form a typical extended remix. You can see that some steps are set to repeat several 
times and the repeat field can be used to good effect in this way - it certainly beats having to 
print several versions of a section onto tape and splicing them all together!! 

Crossfades are not possible in the song mode but this isn't such a big disadvantage for most 
remix work where the material is usually quite percussive and butt editing can be very effective. 
Of course, a good edit depends on the accuracy of the cuts you make in the EDIT page and 
hearing a cut out of context may not always give you a true impression of how it will sound back 
to back with another cut. A typical editing session will probably involve a bit of switching 
between the EDIT page and the SONG page to fine tune some edits which, on their own 
sound fine but alongside other takes, exhibit some form of glitch. When you switch from the 
SONG page to the EDIT page, the take just played will be in the EDIT window and then, when 
you return to the SONG page, the step you are working on will still be current so a fine edit 
should only take a few seconds. Often, the fade in and fade out parameters can come in useful 
for smoothing out such problems. Experimentation is the name of the game here! 



Once you have a few takes in your song, pressing I RUM I (F8) in the main SONG page will 
cause them to play back sequentially. When this happens, you will receive the following screen 
display: 



n tli 


nt ch lv pan 


fin fout rp 


ll INTRO 1 


C_3 16 65 R40 


20 50 1 


I INTRO 2 


C_3 16 55 L10 


2 


I INTRO 1 


C_3 16 60 MID 


10 12 1 


I UERSE 1 


C_3 16 78 MID 


20 1 


I BREAK 


C_3 16 60 MID 


10 12 4 


PLAYING TflKE- 


-LIST 


STOP SKIP 



Pressing F7 will stop playback of the song and pressing F8 
the current step and proceed playback from the next step. 



SKIP - will cause the song to skip 



Page 272 



S3200XL Operator's Manual - Version 1.00 



GLOBAL 



NOTE: The SKIP function causes playback to start from the next step, not the next repeat of 
any step. 



As the song is playing, a small highlighted box appears to the left of the step to indicate your 
playback position. If the song exceeds five steps, the list of steps will scroll up the screen with 
the currently playing step being placed in the centre of the screen. The step number at the top 
left of the screen also changes to show the step currently playing. If a series repeats have 
been set for a step, they will count down as they are played so you can easily keep track of 
progress during playback. 

You may play from any position in the song simply by moving the pointer up or down the scroll 
bar. This can be done using the DATA control or the numeric keypad (see later USING THE 
NUMERIC KEYPAD). Pressing RUN will cause the song to commence playback from that step. 
At the top of the screen to the left of the song name is an indicator showing which step you are 
on. 

USING THE NUMERIC KEYPAD IN THE SONG MODE 

The numeric keypad can be used as a shortcut method of moving around the song steps. You 
can use the cursor keys if you wish, especially if you are only moving one step down but when 
you wish to move several steps down or up, the keypad will become very useful to you. 

The shortcuts are simple and easy to remember. With the cursor on the scroll bar, pressing... 

1 will move you one step down 

2 will move you two steps down 

3 will move you three steps down 

4 will move you four steps down 

and so on through to 9 which, of course, will move you nine steps down. 

pressing -/> key and 1 simultaneously will move you UP one step 

pressing -/> and 2 will move you up two steps 

pressing -/> and 3 will move you up three steps 

pressing -/> and 4 will move you up four steps 

and so forth through to -/> and 9 which will move you up 9 steps. 

Other keys you can use are: 

This will take you to the first step in a song 

+/< This will take you to the last step in a song 

ENT/PLAY This will always move the cursor to the scroll bar 

Please note, however, that, with the exception of the ENT/PLAY key, these keypad shortcuts 
ONLY WORK WHEN THE CURSOR IS ON THE SCROLL BAR. Using them when the cursor is 
on a parameter field in the S.ED page will cause them to input a numeric value. 



S3200XL Operator's Manual - Version 1.00 Page 273 



GLOBAL 



BLOCK EDITING IN SONG MODE 

So far we hav e seen how to create songs in a fairly simple fashion - i.e. in the S.ED page, press 
IMRRKI, press I IMS I, move the cursor down a step, select a new take - and this will get you 
through creating a song. Even if that is all you learn to do, you should find song creation quite 
straightforward. There are other editing techniques available in the SONG mode, however, that 
makes thi s mode eve n more powerful. 

Using the IMRRKI and IELCKI keys, you may identify whole blocks of steps and copy and shift 
them around a song very conveniently. The easiest way to explain this is by example. Let us 
say you have the following: 

TAKE 1 This is a 1 bar drum section with a cymbal at the down beat of bar 1 

TAKE 2 This is a 2 bar drum section without the cymbal 

TAKE 3 This is a 1 bar drum beat with a small fill at the end 

You have set the steps up as follows: 

TAKE 1 No repeat 

TAKE 2 3 repeats 

TAKE 3 No repeat 

You have created a 8 bar drum section complete with a cymbal at the start and ending. Let's say 
you now want that whole section to repeat 4 times. You could do it the hard way and mark and 
insert each step sequentially but the easiest method is this: 

Ensuring t he cur sor is on the scroll bar, move the cursor to the first step in the block, TAKE 1 , 
and press IMRRKI Now move the cursor down two steps by pressing 2 on the numeric keypad 
and press IELCKI. This marks the t hree st eps as one block. Now move the cursor down a step 
(press 1 on the keypad) and press I IMS I. You will copy that block at the end of TAKE 3. 

You can now do one of two things to copy it twice more. You can either move the cursor to the 
end of the second block (press 3 on the numeric keypad) and press I IM S I aga in and then 
move it to the end of the third block (press 3 again on the keypad) and press I IMS I once again. 
The ot her way to achieve the same effect is to move the cursor back to TAKE 1 and press 
IMRRKI and then mo ve the cursor to the second occurrence of TAKE 3 (press 5 on the numeric 
keypad ) and press IELCKI, press 1 on the keypad to move the cursor down a step and press 
l INS l This will append the whole block onto the end of itself. Either way is equally effective so 
choose whichever is easiest for you. 

This method of block copying and inserting has even more uses than just appending block 
onto themselves. Again, another example should demonstrate this. 

Let us say you have the three takes sequenced as above - TAKE 1 once, TAKE 2 three times, 
TAKE 3 once - and you wish to insert this just before the BREAK in your extended mix. Move 
the cursor to TAK E 1 and press IMRRKI Press 2 on the numeric keypad to take you to TAKE 3 
and press ELEEl. 



Page 274 S3200XL Operator's Manual - Version 1 .00 



GLOBAL 



Now move the cursor to the point just before BREAK 
thus: 



i.e. with the arrow pointing just above it 



n tli 


nt ch ly pan fin fout rp 


ffTfiKE 1 


C_3 16 65 R40 20 50 1 


Itrke 2 


C_3 16 55 L10 3 


■Itrke 3 


C_3 16 60 MID 10 12 1 


I UERSE 1 


C_3 16 73 MID 20 1 


J BREAK 


C_3 16 60 MID 10 12 4 


msem @aaa eish imd ebeb elee cue] hezi 



Now press l INS I and the whole block will be inserted before the BREAK. 

You will find these editing functions extremely useful when creating complex remixes as they 
allow you to shift whole sections and place them anywhere you like in a song very quickly and 
easily. It means that you can regard what are small, short takes appended together as one long 
take which can be inserted as you wish. 



NOTE: It is only possible to mark contiguous steps as a block - you cannot mark a series of 
steps, skip a few and then mark another few steps as one block. 



Naturally, this block editing function can be used to delete blocks of steps as well. 



S3200XL Operator's Manual - Version 1.00 



Page 275 



GLOBAL 



NAMING SONGS 

To name a song, simply press the NAME key and enter a name of up to 12 characters in the 
usual way, completing the action by pressing ENT/PLAY. 

SAVING A SONG 

To save a song, go to the SAVE mode and select CURSOR ITEM ONLY as the save type. 
Move the cursor to the song name (this will be TL1 if you have not named it) and press F7 or F8 
depending on whether you wish to wipe the disk/volume as you save. 

Of course, if you wish, you may also select ENTIRE VOLUME to save not only the SONG but 
also the samples, programs, multi and effects file currently in memory. 

LOADING A SONG 

In the LOAD mode, select CURSOR ITEM ONLY as the load type and move the cursor to the 
song name. Press F7 or F8 depending on whether you want to clear the current contents of 
the memory or not. 

If you saved the song as ENTIRE VOLUME or MULTI+P+S, you will probably want to load it 
using this selection so that any programs, samples, multis and effects that may be associated 
with this song are also loaded. 



Page 276 S3200XL Operator's Manual - Version 1 .00 



GLOBAL 



BACKING UP TAKES TO DAT 

Back up of tak es to DAT is accessed via the PLAY page of the disk record functions. The soft 
key F7 - IOS - takes you to the BACKUP SAVE page. I.e: 



IDD PLRV/PRRRMETERS 


take: f 
start: 




i 




sanp.rate: 


44100Hz 


M.N0TE+DEL 


yari speed: 


+00.00* 


predel 


ay: 


400nS 




fade in: 


lOnS 


note: 


C_3 


ch: 


16 


fadeout: 


50nS 


stereo: 


50 


pan: 


MID 


FX bus: OFF send: 00 output : 


50 


to: 


7/8 


ma Hiraia ploy raun rasraa nssa isna iferei 



Press F7 - 1=116=1 - will display this screen: 



TAKE BACKUP 5AUE 



take: 
transmit rate: 44.1 kHZ 



TAKE 1 



rsa^en 

E&a saaa eisa bed gjeeh cum bu.s 



ETPF1 



This simple page displays the transmit rate for the back up to DAT. This can only be set to 
44.1kHz and so this field is not accessible to the user but is shown merely for information. 
When a take is backed up to DAT, all data related to it is also backed up, of course. This 
includes start and end edit points, MIDI parameters, fade in/out, etc.. 

To back up takes to DAT, you can either do them individually or all of them. To back up a single 
take, select the appropriate take in the take field at the top right of the screen. Press RECORD 
on your DAT machine and then press F5 - ONE . This will back up only the selected take to 
DAT. 

To back up all the takes on disk to DAT, irrespective of the t ake se lected in the take field, press 
RECORD on the DAT machine and then press F6- LBLLJ. The S3200XL will then 
systematically back up all the takes contained on that disk. When either of the above is taking 
place (i.e. a single take or all takes are being backed up), you will receive the following display: 



saying take:- TAKE 1 



STOP | 



This shows t he cur rent take being backed up. At any time, you may abort the procedure by 
pressing F8 - ISTPF1. 



S3200XL Operator's Manual - Version 1.00 



Page 277 



GLOBAL 



RESTORING TAKES BACK FROM DAT TO DISK 

The take restore functions are found in the DREC page on F7 



I. I.e: 



ir:.r:. PFrripn. sfti ip ^BPPI tcwf 1 1 


node: MONO 


free: 00:43:44 


source: ANALOG 


length: 00:01:00 


start: START SONG 


note: C_3 oh: 16 


delay: 400mS 


stereo: 50 pan: MID 


FX bus: OFF send:00 


output: 50 to: 7/S 


■aa BjTira raisva issa drec mraa now 



Pressing this gives this screen display: 



TAKE BACKUP LOAD 



TAKE 1 



free: 00:23:49 length: 00:01:00 



E&a saaa Eisa @3D dei§ D3Si bill itjett 



This page looks very much like the normal record page except that you have lost the threshold 
field. To perform a r estore of either a single take or all takes, line the DAT up to the appropriate 
point and press F8 - 1 ARM I on the S3200XL. You will receive the following message: 

Inane-Match takes uill be uiFed! OK EXIT | 

indicating that any takes currently on disk that have the same name as those backed up on 
DAT will be overwritten and replaced with those from DAT. Press OK or EXIT as appropriate. 



IMPORTANT NOTE: 

PRESSING OK' WILL IRREVOCABLY ERASE THOSE TAKES 
THAT HAVE THE SAME NAME. 

BE VERY CAREFUL IN YOUR SELECTION 



Immediately after you press OK, the display will show: 



I carrier - "HilKHZ 



waiting for take fron DAT.... 



ABORT 



This indicates that the S3200XL is receiving the digital signal through the digital interface. You 
should now start your DAT machine. 

If the display shows WAITING FOR CARRIER, this indicates that the correct digital connection 
has not been made. Please check your connections and also please check the settings of the 
digital interface in the RECORD SET-UP in SAMPLE. You may press F8 - ABORT - to exit this 
screen. 



Page 278 



S3200XL Operator's Manual - Version 1.00 



GLOBAL 



Assuming you wish to proceed with the restore, press PLAY on your DAT machine. When the 
take is being restored to disk, the screen will show: 



TAKE BACKUP LOAD 



TAKE 1 



free: 00:23=49 length: 00:01:00 




RECORDING digital at 44.1 kHZ 



STOP 



This is virtually identical to the normal record page when a recording is being made and the 
take's waveform envelope will be displayed as it is being restored. The DAT restore function is, 
actually, just another way of recording and this 'confidence monitoring' keeps you informed of 
progress during the DAT restore process. At any time, you may press F-8 STOP to abort the 
restore. 



S3200XL Operator's Manual - Version 1.00 



Page 279 



GLOBAL 



SMPTE PA GE - USING CUE LISTS 

Pressing D9I13 in the main GLOBAL page will take you to the Qlist mode where you may set 
up Qlists for synchronising to timecode amongst other things. 

One popular application for samplers is to use them to dub sound effects in audio/visual 
productions. In the past, the only way to trigger these sound effects was to use a MIDI 
keyboard or sequencer and most audio/visual post-production suites do not employ MIDI but 
use timecode to synchronise equipment and trigger sound effects. Using the SMPTE 
reader/generator fitted in the S3200XL, yo umay create sophisticated cue lists making it ideal 
for audio/visual post production. Pressing D9I13 takes you to the cue list PLAY screen. This 
should show an empty cue list if you have entered this mode for the first time. I.e: 



EH1SH QLl tine: 



00:00:00:00.0 ?MonC_3 127 



PLOY nan emi eese F^n ifttth iutttei ibtofi 



This is the QPLAY mode where you may play, create and edit cue lists. Only one cue list can 
reside in the S3200XL at any one time and the maximum number of events a cue list can have 
is 250. 

The basic premise is that you specify a SMPTE time for an event and this sends a MIDI note to 
one (or more) of the S3200XL's internal programs. Any MIDI note may be specified at any MIDI 
velocity to trigger any sound in any program in the S3200XL. Unlike other modes of the 
S3200XL, it is not necessary to specify program numbers for each of the programs as the 
S3200XL's cue list simply 'looks' at the program specified for the event and plays the 
appropriate note in that program. In other words, if you set the following for an event: 

00:00:12:00.0 GUNSHOTS Mon C_3 127 

the S3200XL will send a MIDI note ON event (Mon) to play a gunshot sound effect on C3 in the 
GUNSHOT program at 12 seconds with a MIDI velocity of 127. You may have any number of 
programs in one cue list and these programs can contain any number of samples in keygroups 
on specific note numbers. You may layer two or more samples on top of each other within any 
one keygroup and these will be played simultaneously when the appropriate MIDI note number 
is sent from the cue list. 

You may use the cue list in several ways. You could set up a program that contains all the 
sound effects for your production and assign these to different MIDI notes in their respective 
keygroups. In the cue list, you would simply assign the one program to every event and then 
specify the appropriate MIDI note numbers for each event. Alternatively, you could create a 
number of programs that contain just one sample in each program and these could be 
triggered by the cue list. Another method is a mixture of both techniques. You could have 
several programs, each with sound effects assigned to different MIDI note numbers. For 
example, you could put all your gunshot sound effects in program, all your footsteps in 
another, all your traffic noises in another and set the cue list to play the appropriate sound 
effect (i.e the MIDI note number) from the required program. 

As you have already discovered in EDIT SAMPLE, there are many different ways you can play 
back a sample in the S3200XL. A sound can be looped or it can simply play to the end of the 
sample. If the sound has no looping set in it, then it is not necessary to set a MIDI note OFF 
command to it when it is triggered in the cue list and so all that is required is a MIDI note ON 
event for such samples. If, however, the sample has a loop set in it, then it will be necessary to 
sent a MIDI note OFF in order to stop it sounding at the required moment although you will 



Page 280 S3200XL Operator's Manual - Version 1 .00 



GLOBAL 



note that if the cue list is stopped during playback of a looped sample, the sample will 
automatically be stopped and you will not be left with a 'hanging' drone. 

The 32 voice polyphony of the S3200XL effectively gives you 32 tracks of audio available 
through the stereo outputs and/or the 8 individual outputs. Of course, you may also assign 
effects to the sounds in the usual way. 

Before we look at the different modes within the cue list pages, let us first examine some of the 
functions of the cue list as these are very important in the creation and editing of cue lists. 

BLOCKS 

All editing of the cue list is done using 'blocks'. A block can be just one single event or a group 
of events and there are dedicated soft keys for identifying the start and end of a block which 
work in conjunction with the numeric keypad which functions as a cursor control in the cue list 
mode. When you identify a block, a highlighted box appears to the left of the selected 
event(s). 

THE CURSOR 

The cursor can be moved around the cue list in the usual way using the CURSOR keys but 
there is also a highlighted vertical field running down the side of the cue list called the 'scroll 
bar' and there is a pointer cursor that indicates the current position of the cursor in the cue list. 
This pointer cursor can be placed above or below an event and this is used to mark events for 
copying, insertion or deletion. You may also use this cursor to play the cue list from any point. 
In the cue list edit mode, there is an indicator at the top of the screen to show the current event 
number the cursor is placed on. 

GETTING AROUND THE CUE LIST - THE NUMERIC KEYPAD 

When you are in the cue list, the numeric keypad has a slightly different function to the other 
modes in the S3200XL as it allows you to move the cursor up and down the cue list scroll bar. 

Pressing always takes you to the start of the cue list. 

Pressing +/< takes you to the end of the cue list. 

Pressing any of the number keys moves you down the list by the same number of steps as the 
number key you pressed. In other words, pressing 1 moves you down the list one event at a 
time, pressing 2 moves you two steps at a time, pressing 3 takes you three steps at a time, etc.. 

By pressing the -/> key AND a number key simultaneously, you can move up the list. For 

example, pressing -/> and 6 will take you six steps backwards in the list. 

Pressing the +/< key AND the -/> key simultaneously takes you to the start of the block. 

If you are on a field in the cue list (i.e. the cursor is not in the scroll bar), you may move to the 
scroll bar instantly by pressing the ENT key. When the cursor is on the scroll bar and pointing 
to an event, you may press the ENT key to play that event. 

If the cursor is on a numeric field in the cue list, the numeric keypad functions in the normal way 
and this cursor control facility only ever works when the pointer cursor is on the scroll bar. 



S3200XL Operator's Manual - Version 1.00 Page 281 



GLOBAL 



CUE LIST MODES 

There are three basic modes in CUE LIST for playing, creating, editing and setting up cue lists 
which are accessible through soft keys F1 , F2 and F3. These are: 

1511513 This is where you play a cue list and this mode has several 'transport' 

controls for a variety of different playback functions. 

I3SIU This is where you can edit and/or create a cue list. 

Hiiai This where you set the S3200XL SMPTE receive/transmit 

parameters. 

CREATING AND EDITING CUE LI STS 

Let us now create a cue list so press 13911 (F2) to take you to the cue list edit page: 



nt: +00: 00: 00: 00.0 sl:+00:00:00:00.0 
00:00:04:21.5 DOOR SLflMSl Mon C_3 127 
00:00:12:12.4 FOOTSTEPS Mon C»3 127 
00:00:13:10.6 BG MUSIC 1 Ton 50 MID 
00:00:14:05.1 BG MUSIC 1 Tof 50 MID 
00: 00: 1 4. 16.7 GUHSHOT 1 M on C_3 127 

Eisa edit mm lEcm rmsi iteh isttfi isnirn 



This shows a typical cue list with sound effects. 

The fields across the top of the screen are: 

To the far left of the screen is a highlighted numeric field that is inaccessible to the user. This 
shows the current event number and, as the cursor is moved up and down the scroll bar, this 
number changes to indicate the event number in the list. 

mt: +00: 00: 00: 00.0 This sets a master offset time for the cue list and data is input using the 

data wheel or the numeric keypad. The whole cue list can be offset 
forwards by pressing the +/< key when the cursor is in this field or 
backwards by pressing the -/> key when the cursor is in this field. 

sl:+00:00:00:00.0 This allows you to set the time by which you want to slip a block of 

events in time and data is input using the data wheel or the numeric 
keypad. You may slip a block of events forwards using the +/< key 
when the cursor is in this field or backwards using the -/> key when the 
cursor is in this field. This facility works in conjunction with the SLIP 
soft key described below. 

Before we look at the other fields on this screen, let us first examine the function of the soft 
keys as these play an important part in the creation of a cue list. 

IMRRKI Pressing this key sets the start mark of a block as set by the position of 

the pointer cursor in the scroll bar. 

IELCKI Pressing this soft key sets the end mark of a block as set by the 

position of the pointer cursor in the scroll bar. 

To mark a block, move the cursor to the event you wish to set and press ma rk No w move the 
cursor down the list using the numeric keypad as described earlier and press ELEE1 at the point 
you wish to mark as the end. It is possible just to mark one eve nt and this is done by pressing 
only IMRRKI at the event you wish to set and not pressing IELCKI. 



Page 282 S3200XL Operator's Manual - Version 1 .00 



GLOBAL 



I IMS I This allows you to copy and insert a marked event or block. To insert 

an event, place the pointer cursor at the event you wish to copy and 
press MARK. Now move the cursor using the numeric keypad to the 
position at which you wish to insert this event and press F5 - 1 INS I 
The marked event will be inserted at the point indicated by the pointer 
cursor. You may now edit this event if you wish. 

You may also copy and insert blocks in the same way. Place the cursor at the point at which you 
wish to set the start of the block and press MARK. Now, using the numeric keypad, move the 
cursor to the point you wish to set as the end of the block and press BLCK. You may now move 
the cursor to the position at which you wish to insert this block and press INS. The marked 
block will be inserted at the point indicated by the pointer cursor. You may now edit the cues in 
that block if you wish. 

LQELJ This deletes the marked event(s) 

IELIEI This allows you to move a marked event or block of events backwards 

or forwards in time. This is most useful on blocks of cues that need to 
be shifted very slightly. When you press SLIP, the cursor will 
automatically be placed on the 'si' (slip time) field at the top right of the 
screen and you may set this field accordingly. After that, pressing 
IELIEI - F7 - will slip the marked event(s) by the amount set in the 'si' 
field. 

ISQRTI This allows you to sort a cue list's events into chronological order. The 

S3200XL will play events in the right sequence even if they appear 
out of time on the screen but, to make things clearer for yourself, you 
may want to place them in strict time order so that they follow 
consecutively on the screen display. 

When you first enter the EDIT CUE page, you will always be presented with one cue. This is a 
MIDI note ON cue (Mon) set at 00:00:00:00.0 with no program assigned. I.e.: 



nt: +00: 00: 00: 00.0 sl:+00:00:00:00.0 

00:00:00:00.0 ? Mon 50 MID 



Hiaa edit warn ieccei rmsi rr?m isttfi isnirn 



The default MIDI note is C3 (note number 60) and the default velocity setting is 127. You may 
use this as the basis for your cue list us ing the various copy and insert functions. To create a 
number of cues, simply press F5 - 1 IMS I - a few times to create some new cues. Now, simply 
set the appropriate SMPTE times and assign the relevant program(s) and MIDI note number(s). 
You may also specify the velocity setting for the cue(s) if you wish to affect a cues loudness or 
volume. You will note that a SMPTE time other than 00:00:00:00.0 HAS to be specified for any 
cue as this SMPTE time effectively represents 'no time' and so the cue will not sound. 

If the sound has no looping (i.e. in EDIT SAMPLE, it is either set to "PLAY TO SAMPLE END" 
or no loop has been set) then it is not necessary to specify a MIDI note OFF for every event - 
only when a sample has a loop set in it is necessary to specify a MIDI note-off or, if a long 
sample needs to be shut off before it reaches the end of its duration. This is done by changing 
Mon to Mof. If you wish, you may specify a note off command (Mof) at any time to cut a sample 
short without having to edit its end point in EDIT SAMPLE. 

You may also select takes to play from disk. This is done simply by changing Mon to Ton (TAKE 
ON). When you move the cursor to the name field, you will now only be able to select takes for 
that cue. Set a suitable time for the cue and, in QLIST PLAY (see below), press IPint-l or 



S3200XL Operator's Manual - Version 1.00 Page 283 



GLOBAL 



IFefltl and the take will play once the appropriate SMPTE time is reached. You may continue 
this process until all your takes and programs are assigned and you may freely mix programs 
and takes to create a Qlist something like that shown in the screen below: 



msa qli 

100:00:04:21.5 
00:00:12:12.4 
00:00:13:10.6 
00:00:14:05.1 
00:00:14.16.7 



tine: 
DOOR SLflMSl 
FOOTSTEPS 
BG MUSIC 1 
FOOTSTEPS 
GUNSHOT 1 



MonC_3 127 
MonCit3 127 
Ton 50 MID 
MonCtt3 127 
MonC_3 127 



PLAY SSB EMI I5EHE1 Fi^Fl IFTTTn ICTTTn [5T0F1 



Here we have some sound effects being played from within programs and at around 13 
seconds, some background music is triggered from disk. Of course, at any time, you may edit a 
SMPTE start time to ensure precise synchronisation of takes to SMPTE. 

This method of operation is probably of most use to A/V engineers for placing long music 
tracks or dialogue plus sound effects to picture - in this case, the sound effects are being 
triggered from RAM via programs and the music and/or dialogue from the hard disk. 

Not only can takes be triggered to start playback at specific SMPTE time within the Qlist, they 
can also be made to stop at specific SMPTE times. To do this, simply insert a cue and set that 
to Tof and select the appropriate take. 

For example: 



nt: +00: 00: 00: 00.0 



sl:+00: 00: 00:00.0 



00:00:04:21.5 
00:00:12:12.4 
00:00:13:10.6 
00:00:14:05.1 
00:00:14.16.7 



DOOR SLflMSl 
FOOTSTEPS 
BG MUSIC 1 
BG MUSIC 1 
GUNSHOT 1 



Mon C_3 
Mon Cit3 
Ton 50 
Tof 50 
Mon C_3 



127 
127 
MID 
MID 
127 



EffiSa EDIT ITH3EE1 ECCR1 ITHSl fTTFn I^TTFI I^UFTI 



Here, the same take is specified twice but one is specified as Tof which indicates that at 
00:00:14:05.1, the take will stop playing. In this way you can set exactly how long a take is to 
play for regardless of any edits made to that take within the D-D pages. 

You may, at any time, change a take cue into a program cue simply by changing Ton to Mon 
and vice versa. 

If you try to start playback of a Qlist midway through where a take should be playing, you will 
note that the take will pick up from that point regardless of where it is started. You will note, 
however, that this will not happen with MIDI cues (i.e. triggered programs) which need to wait 
until reception of the next MIDI note on command. 

If two takes overlap in a Qlist, when the second (i.e. the later cue) plays, the first will be cut 
giving priority to the latest one triggered. 



NOTE: When overlapping cues are played in this way, there will be a small gap between the 
end of the first and the start of the second cue. Similarly, if two cues are set to butt together, 
you will notice a small gap between them. 



You may now copy and insert either single events or blocks of events as volt w ish until the cue 
list is complete. At any time, to hear the results of your efforts, press F1 - \3B£U - to take you to 
the QPLAY screen. You will receive this display: 



Page 284 



S3200XL Operator's Manual - Version 1.00 



GLOBAL 



msa 


QLl 


tine: 


: : : 




2 00:00:04:21.5 


DOOR SLAMS 1 


Mon C_3 


127 


1 00:00: 


12:12.4 


FOOTSTEPS 


Mon CS3 


127 


1 00:00: 


13:10.6 


BG MUSIC 1 


Ton 50 


MID 


1 00:00: 


14:05.1 


FOOTSTEPS 


Mon C»3 


127 


1 00:00: 


14.16.7 


GUNSHOT 1 


Mon C_3 


127 


PLflY USD BS5H EEBE1 EaaS EJED IHTTtn I5T0F1 



This page allows you to play the cue list from any point and there are several 'transport' controls 
that do this. 

iFextl This is an abbreviation for PLAY EXTERNAL and plays the cue list but 

only when it is receiving incoming SMPTE from an external source. If 
the external source stops, then the S3200XL will stop. If the external 
source is 'rewound' to another location, the S3200XL will pick up on 
the new SMPTE position and re-commence playback from that point 
although you will note that if playback re-commences at a point that is 
halfway through a sample, that sample will no t play. If no SMPTE is 
present, then nothing will happen when iFextl is pressed!! When the 
cue list is playing, the cue list will scroll through the cue list and a small 
highlight appears to the left of the cues to indicate that the event has 
played. The current cue playing is always the middle cue in the screen 
except when playing the first three cues at the start of a cue list. 

iFintl This is an abbreviation for PLAY INTERNAL and will play the cue list 

from its own internal SMPTE generator. It will also transmit SMPTE 
timecode through the SMPTE out socket on the rear of the S3200XL 
allowing you to control external devices using the S3200XL as the 
master controller. When the cue list is playing, the cue list will scroll 
through the cue list and a small highlight appears to the left of the cue 
to indicate that the event has played. The current cue playing is always 
the middle cue in the screen except when playing the first three cues 
at the start of a cue list. 

ICintl This is an abbreviation of CONTINUE INTERNAL and pressing this 

after pressing STOP (see below) will play the cue list from the current 
position of the pointer cursor. This also transmits SMPTE timecode 
through the SMPTE out socket from the point at which playback is re- 
commenced. You can freely move the pointer cursor to any location in 
the cue list to commence playback from any point using this key. 
When the cue list is playing, the cue list will scroll through the cue list 
and a small highlight appears to the left of the cues to indicate that the 
event has played. The current cue playing is always the middle cue in 
the screen except when playing the first three cues at the start of a 
cue list. 

ISTQFI This stops playback of the cue list in all play modes. It also stops 

transmission of timecode from the SMPTE out socket. 

NAMING CUE LISTS 

In this page, it is also possible to name a cue list. To do this, press NAME and type in the name 
(up to 12 characters) followed by pressing ENTER. The 'time:' field to the right of the name 
display shows the current time of either the internal or external timecode. 



S3200XL Operator's Manual - Version 1.00 Page 285 



GLOBAL 



GRABBING TIMES 

One other soft key that is available for use in the QPLAY mode is the IEEHEI function found on 
soft ke y F4 T his allowsyou to input cues in real time as the cue list is pla ying T o do this, press 
either iFefltl (F5) or IFiritl (F6) and, as the cue list is playing, press lEEHEl at appropriate 
moments. This will input empty cues at the end of the cue list. You may edit these and assign 
the relevant programs, MIDI notes and velocity levels in EDIT and pressing ISQRTI in cue list 
EDIT will place them in their correct chronological order. This method of inputting cues is well 
suited for creating cue lists 'on the fly' - that is, watching the visuals whilst entering cues in real- 
time. You may use this function to add cues to an existing cue list or to create a cue list 'from 
scratch'. 

Another way to do this is to use the numeric keypad whilst the cue list is playing. This will insert 
programs 1 to 9 in realtime as the cue list plays according to the key press and you will hear the 
sound as you do this. Naturally, it is important that your programs are numbered correctly 1-9 if 
you are to achieve the right results using this facility. Also, if no programs are assigned to any 
keys that are pressed, no input will be made. 

The keys will normally insert the appropriate program on MIDI note C3 with a velocity of 127 but 
this may be changed by changing the parameters set in the TRANS page of the main MIDI 
mode (please refer to the section that explains the MIDI mode for more details on this function). 

For either way of inputting cues in real-time, the GRAB soft key has two functions. If you press 
GRAB whilst the S3200XL is NOT playing, a small 'G' appears at the top of the screen next to 
the 'time' field. When this is displayed and any of the PLAY functions are used, you can input 
cues in real-time (using the GRAB function or by 'playing' the programs from the keypad) but 
the cues will not be displayed as you input them. This allows a far faster response time for 
'grabbed' cues. You may still input cues in real-time using either method without pressing 
GRAB first and you will see the cues entered as you 'play' them but please note that the 
response time is slightly slower because, as the screen display changes, so some of the 
S3200XL's execution speed is used up and it is possible in such a situation, especially when 
inputting really fast cues, that some cues may be missed. It is recommended, therefore, that 
you press GRAB before putting the S3200XL into play if you need to input very fast cues in 
real-time. If you wish to cancel the 'G', press STOP (F8) and this will put you back to the normal 
GRAB mode. 

You may not access any other fields in this mode as these are for display only although the 
CURSOR keys and the numeric keypad can be used to scroll through the cue list. If you wish to 
edit the cue list, press F2 to return to the EDIT screen. 



Page 286 S3200XL Operator's Manual - Version 1 .00 



GLOBAL 



SMPTE PAGE 

This page is where yo u set the parameters for the S3200XL's internal SMPTE 
reader/generator. Pressing Hilfll will give you this display: 



msa 



H M S F fVs 



receive ti re- 



transmit start:- BOO: 00: 00: 00,01 25 
current transmit:- : : : 
i-tram 

BMSH EJHi smpt iehjei i^nm mrm i^tpfi 



receive t ime This field shows the current time being fed to the SMPTE reader from 

an external source. It will also detect the frame rate used on the 
external source and this is displayed underneath the 'f/s' field shown 
in the top right hand corner of the screen. 

transmit start This field allows you to set the time at which you want the SMPTE time 

to start. To the right of this field is another that allows you to set the 
frame rate for the transmitted SMPTE and the options are 24 fps, 25 
fps, 30 fps and 30 drop fps. It is important that this be set to match 
incoming external timecode otherwise you may find that certain cues 
'misfire'. 

current transmit This field shows the SMPTE time currently being sent. 

There are four soft keys associated with the reception and transmission of SMPTE. These are: 



IRffTEl 



ISTKT1 
I STP F1 



This switches the S3200XL's SMPTE reader/generator to receive 
external SMPTE/EBU timecode. When this is switched on and 
external timecode is sent to the S3200XL, the 'receive time:' field 
shows the current external timecode position and the 'f/s' field shows 
the the external timecode's frame rate. 

This generates SMPTE timecode from the S3200XL's internal 
SMPTE generator from the point set in the 'transmit start:' field. 

This generates SMPTE from the point at which the timecode 
transmission was stopped. 

This stops transmission of SMPTE from the S3200XL's internal 
SMPTE generator. 



S3200XL Operator's Manual - Version 1.00 



Page 287 



GLOBAL 



SAVING CUE LISTS 

You may save a cue list and its programs and samples by selecting ENTIRE VOLUME as the 
save type - this will save all the programs, samples and effects file associated with the cue list to 
disk. 

It is also possible to save any number of cue lists to disk. To do this, go to the SAVE page and 
select CURSOR ITEM ONLY. Place the cursor on the cue list file you wish to save then press 
F8 - GO. This will save the cue list to disk. Any number of cue lists can be saved to a disk 
although only one can exist in the S3200XL at any one time. 

LOADING CUE LISTS 

When a disk is inserted into the S3200XL's disk drive on power up, the cue list file will be 
loaded along with the programs and samples. This also applies if ENTIRE VOLUME is specified 
as the load type. 

Loading an individual cue list is done by going to the LOAD and selecting CURSOR ITEM 
ONLY and placing the cursor on the cue list file -with the suffix 'Q' alongside the file- you wish 
to load. Pressing F8 - GO - will load the selected cue list into the S3200XL. 



Page 288 S3200XL Operator's Manual - Version 1 .00 



APPENDIX 1 



CONNECTING AN EXTERNAL HARD DISK DRIVE 

SCSI devices (hard disk drives, CD-ROMs, etc.) are connected as follows: 



SCSI INTERFACE J 



H 



I 



SCSI CABLE 



U 



1 



HARD DISK DRIVE 
(or CD ROM, etc) 



To other SCSI devices 



The S3200XL uses a 25-pin SCSI connector. Using a suitable SCSI cable, connect the drive(s) 
to the S3200XL as shown above. Most drives have two SCSI connections and the other can 
be used as a 'thru' to other SCSI devices such as CD ROM or another hard disk drive, etc.. 

CONNECTING TWO SAMPLERS TO ONE HARD DISK DRIVE 

It is possible for two Akai samplers to share one drive. These may be two S3200XLs or even an 
S3200XL and an S1000/S1100 3 , S3000, S2000 4 , whatever. To do this, connect the devices 
as follows: 

SAMPLER A 



3 
1 



DISK DRIVE 



SAMPLER B 

Make sure the local SCSI ID: parameters on each sampler are different (on the S3200XL, 
this parameter is set in the GLOBAL-MIDI-SCSI or SAVE/LOAD-SCSI pages. If the other 
sampler is not an S3200XL, please refer to its operator's manual). If the local SCSI ID:s are 
the same on both samplers, you will notice difficulty in accessing the disk drive for loading or 
saving data. Both samplers must be terminated in the above example (please see next page - 
TERMINATION). 



Please be aware of certain 'backwards' compatibility issues regarding using S3200XL data 
with S1100/S1100 samplers. A software version exists for these earlier samplers to read 
S3200XL data. Please refer to Appendix 2 for more information. 

The (relatively!) inexpensive S2000 makes an ideal polyphony/output/memory expander for 
the S3200XL. Use the S3200XL for the bulk of your work, taking advantage of its large LCD 
waveform editing, etc., save the results to disk and use the S2000 as a playback-only 
device. Note that you should install all the options (EB16, IB304F, etc.), in the S2000 for 
best results because, despite the cost down achieved by the S2000's compromised front 
panel, internally, with all the options fitted, the S2000's hardware is virtually the same as 
the S3200XL. 



S3200XL Operator's Manual - Version 1.00 



Page 289 



APPENDIX 1 



NOTES ON USING HARD DISK DRIVES 

SCSI CABLES 

Always use high quality SCSI cables. Using cheaper SCSI cables may seem an attractive 
proposition, especially if you have a tight budget but low quality cables can give rise to data 
errors. 

The SCSI connection requires that every connection is individually grounded. There are two 
main types of SCSI cable you can buy. One is the 'moulded' type with moulded connectors 
either end and a round cable. The other type are flat 'ribbon' cables. This type of cable is really 
intended only for use inside devices. 

Some moulded cables only have a single ground for all the connections and so can be 
unreliable. They are probably fine when used with a computer for loading small documents 
such as word processor files, etc., but with the large amounts of sample data used on the 
S3200XL, we have had reports of them causing problems. 

The flat ribbon cables, however, have individual grounding for each connection and so are 
generally more reliable but, because they are intended for use inside devices (where they are 
separately screened), they sometimes have insufficient screening which may cause data 
noises to appear in your audio signal path when any disk activity is going on, especially if your 
audio connections run parallel with the SCSI lead. However, if this is not a problem for you (and 
in a studio it may not be), these cables are usually very good and usually perform much more 
reliably. In a live situation, however, they are probably not ideal. 

TERMINATION 

A chain of SCSI devices must be terminated at either end and terminating resistors are fitted to 
most SCSI devices when you buy them. The S3200XL's SCSI interface is terminated. It is most 
likely that the S3200XL will be at one end of the chain and so must be left terminated. Any 
disks in between the S3200XL and the last SCSI device in the chain must be un-terminated 
(this can be done by physically removing the resistors or sometimes via a DIP switch on the 
back of the unit - please check the unit's documentation). The last device in the chain must be 
terminated. 




Terminated 



Unterminated 



MO drive Unterminated 



Terminated 



Incorrect termination may give rise to data errors and possibly corrupted data so please ensure 
it is done correctly. If you have any doubts, please contact your dealer who will be able to help. 



Page 290 S3200XL Operator's Manual - Version 1 .00 



APPENDIX 1 



SCSI CABLE LENGTH 

The SCSI specification states that the total length of the SCSI chain must not exceed 6 metres. 
"Total length" means the length of the whole chain between the first and the last device and 
not the length of the cable between each of devices. SCSI chains that are longer than the 
specified length may cause data errors and possibly corruption of data. 




6 metres total 



S3200XL Operator's Manual - Version 1.00 



Page 291 



APPENDIX 2 



DATA COMPATIBILITY ISSUES 

With any advance in technology, certain problems arise regarding data compatibility between 
older and newer models (witness the chaos with PowerPC software!). At Akai, we have tried to 
make models as compatible as possible both backwards (i.e. using data from new models on 
older machines) and forwards (i.e. using data from older machines on new ones). However, 
there are a few things owners of older Akai samplers should be aware of. 

SOUND DATA 

The S3200XL can use programs and samples created on the S900, S950, S1000, S1100, 
S2800, S3000, S3200, S2000 and S3000XL. 

When using S900/S950 disks in the S3200XL, you will receive the message: 

| S900 DISK ! use only for reading I 

As the samples are being loaded, you will see the message "UNSCRAMBLING...". The 
S3200XL is converting the 12-bit samples from the S900/S950 format into 16-bit sample data 
the S3200XL can use. 

An S1000/S1 100 disk can be read with no problems but when you save it to an S3200XL disk, 
there are a few things you should be aware of. 

The S3200XL allows 512 items to be saved on a floppy or hard disk (on the S1000/S1100 it 
was 64 items for floppy and 128 for hard disk). As a result, the whole format of the disk directory 
is different. 

If you try to save to a floppy disk that was formatted on an S1000 or S1 100, because the disk 
directory is different, the S1 000/1 100 disk has to be re-formatted to S3200XL format. You can 
do this 'manually' if you wish by formatting the floppy using the FLOPPY FORMAT procedure 
described in GLOBAL but , when saving, if you use WIPE, this process is done automatically for 
you. If, however, you use I UU I instead of wipe, the S3200XL will remind you: 

| re-format or arrange before writing ! | 

You may eit her specifically go through the formatting procedure yourself or you may simply 
press UTIFH 

The same is true of hard disk volumes. Simply using the I GO I key when you try to save to a 
hard disk volume that was originally formatted using an S1000 or S1100, will cause this 
message to be displayed: 

| Must kill Slflflfl uolune before writing ! | 

This is saying that th is volu mes directory needs to be re-written in the S3200XL format. To do 
this, you should use IUIFEI - this will automatically rewrite the directory. After this, you may use 
the volumes as normal. 



Page 292 S3200XL Operator's Manual - Version 1 .00 



APPENDIX 2 



WARNING! 

WHEN USING A HARD DISK, THE ACTION OF KILLING A VOLUME APPLIES 
ONLY TO THAT VOLUME. THIS IS N OT A FULL FORMATTING PROCEDURE. 
WHEN YOU SEE THE PROMPT, USE IUTFE1 - DO NOT FORMAT YOUR HARD 
DISK AS THIS WILL ERASE EVERYTHING ON IT. 



If you are at all apprehensive about 'killing' the hard disk volume, save to another empty 
volume. 



NOTE: If you think you will want to use this disk again in an S1000 or S1100, you are advised 
to save the S3200XL data to a different S3200XL formatted floppy disk unless you have 
software for the S 1000/1 100 that can read S3200XL disks. 



An S1000/S1100 cannot directly read sample and program data from an S3200XL but a 
software version does exist for the S1000/S1100 that allows a certain degree of backwards 
compatibility. Please contact your Akai dealer for information on this if you want to use 
S3200XL sounds in an S1 000 or S1 1 00. 

The S900 or S950 cannot read S3200XL sound data. 

If you have an S3000 (or 2800 or 3200), you will be able to use S3200XL sample and program 
data with no special software required (although it is advisable to have the latest software 
version for best results). 

EFFECTS FILES 

The S3200XL cannot use effects created on the S1100, S3200 or upgraded S3000. Effects 
files created for the S3200XL's multi-effects cannot be used in the S1 100, S3000 or S3200. 

MULTIS 

An older Akai sampler cannot read the new generation of samplers' MULTI files. 

ME-35T DRUM SETTINGS 

The S3200XL can read ME-35T drum settings files created on an S1000, S1 100 or the S3000 
series samplers.. 

SONGS AND QLISTS 

Qlists created on an S1100, S3200 or upgraded S3000 can be used with no problem on the 
S3200XL. Song files (i.e. TL' files) created on an S1100, S3200 or upgraded S3000 can also 
be used on the S3200XL. 



S3200XL Operator's Manual - Version 1.00 Page 293 



APPENDIX 3 



INSTALLING EXTRA MEMORY 

To install extra memory, you must remove the top of the case. 



** IMPORTANT NOTE ** 

Consult your AKAI Professional dealer on installation of any options 
(including memory) to the S3200XL. Self-servicing may cause malfunction of 
components or the instrument itself. Akai does not guarantee against the 
unit's malfunction, damage or any loss caused by self-servicing or improper 
operation. 



Remove the top of the case by undoing the two large screws either side of the case and the 
smaller screw in the centre of the top of the rear panel. Looking inside the S3200XL, you will 
see something like this: 



Floppy disk drive 



SCSI Connector for optional MO drive 



ROM board sockets 
/ 



SIMMs socket 



J\ 



Effects processor 



\ 

O/S ROM 



INSTALLING MEMORY EXPANSION 

The S3200XL's internal memory can be expanded to 32Mbytes giving a massive recording 
time of nearly six minutes. The S3200XL comes with 16Meg of memory 'hardwired' and there is 
an extra slot in which you can install SIMMs chips. Installation is fairly simple. The SIMMs board 
is inserted at a slight angle and then pushed back where it clips into place. Because SIMMs 
boards can differ, it is not possible to say "Install them with the components facing the front of 
the S3200XL" or anything like that because some SIMMs boards have the memory chips 
mounted on both sides sometimes. However, the boards can only be inserted one way so you 
shouldn't have any problems but be careful not to force them into place otherwise they may 
snap. 



Page 294 



S3200XL Operator's Manual - Version 1.00 



APPENDIX 3 



SIMMs operate at different speeds. SIMMs that operate at 70nS (nanoseconds) are 
recommended. 

SIMMs also come in various sizes. Please note the following memory configurations that are 
possible in the S3200XL. 



Internal 


SIMM Slot 


TOTAL 


16M 


None 


16M 


16M 


4M 


20M 


16M 


16M 


32M 



NOTE: Memory chips are sensitive to static electricity. Please observe the following safety 
precautions: 

• Unplug the S3200XL before installing the board(s). 

The SIMMs may come with a special wrist strap to discharge static electricity. We suggest 
you attach the strap to the S3200XL's case. If a wrist strap or any other such accessory is 
not supplied, try discharging any static by touching an earthed metal object before 
handling the boards. 

Always handle the memory board by its edges - avoid touching the components on the 
board. 

To minimise static electricity, avoid carpeted areas and low humidity areas. 



INSTALLING THE FMX008 FLASH ROM BOARDS 

As well as being able to install up to 32Mbytes of RAM (Random Access Memory), you may also 
install a further 16Mbytes of FLASH ROM giving the S3200XL a total of 48Mbytes of memory. 
Normally, ROM, being read only, cannot be used to save data and the data contained in ROM is 
usually 'blown' into it at the factory. However, the contents of the ROM are retained when you 
turn the power off. RAM, on the other hand, allows you to put any sound you like into memory 
but, of course, this will be lost when you turn the power off requiring you to save it first. 
However, FLASH ROM has the benefits of both RAM and ROM in that as you can write data to 
it much like RAM but, when you power down, the contents are retained. This allows you to load 
your favourite sounds from disk (i.e. the ones you find yourself using regularly) and save them 
to the FLASH ROM so that they reside in the sampler permanently. Once in the FLASH ROM, 
you do not need to go through lengthy disk loading routines every time you want to use these 
sounds. 

You may install up to two 8Mbyte FMX008 FLASH ROM boards into the S3200XL. To install 
the boards, insert them into the ROM board sockets. Do not use excessive force to insert 
these boards. 



S3200XL Operator's Manual - Version 1.00 



Page 295 



APPENDIX 3 



If you are familiar with analogue synthesisers, you may like to visualise your S3200XL as a large 
and sophisticated modular synth. As you can see, it's pretty impressive! 



LF0 2 


LF0 1 




ENVELOPE 3 


ENVELOPE 2 


ENVELOPE 1 


WAVE RATE OUT 

-0-0 • 


WAVE RATE DEPTH DELAY OUT 

-0~0 • 




RAT 

c 


E 1 RATE 2 RATE 3 RATE 4 OUT 


RATE 1 RATE 2 RATE 3 RATE 4 OUT 

O • 


ATT DEC SUST REL OUT 

O O • 


) O • 


® 


® 




® 


® 


® 


® 

DEPTH DELAY ® 


® 

LF01 
DESYNC MODWL PRESS VELO ® 




® 

LEVEL 1 LEVEL 2 LEVEL 3 LEVEL 4 ® 


® 

LEVEL 1 LEVEL 2 LEVEL 3 LEVEL 4 <§) 


® 

• 


o o • 


i ooo® 




• 


O O • 


® 


LF02 
RE-TRIGGER 


LFOI MODULATION 

RATE DEPTH DELAY 




VEL> VEL> OFFVEL> KEY 
R1 R4 R4 SCALE 


VEL> VEL> OFFVEL> KEY 
R1 R4 R4 SCALE 


VEL> VEL> OFFVEL> KEY 
ATT REL REL SCALE 


i 




I I I 




o o o o 


o o o o 


o o o o 




® ® ® 

LF01 MOD INPUTS 




VEL> 
TEMP OUT 


VEL> 
TEMP OUT 


ATTACK 
TEMP HOLD 














1 


PITCH 
MODULATION 

KG TUNE BEAT 


OSCILLATOR 1 

WAVE VEL 
SELECT OCTAVE TUNE TONE HIGH 




OSCILLATOR 2 

WAVE VEL 
SELECT OCTAVE TUNE TONE HIGH 


LOWPASS FILTER 

FREQ RESO KBD 


AMPLITUDE 
MODULATION 


o 


o o o o o 




o o o o o 


O O O 




PITCH 
LF01 MOD MOD 


VEL> VEL 
START LEVEL PAN KBD LOW 




VEL> VEL 
START LEVEL PAN KBD LOW 


MOD 1 MOD 2 MOD 3 


AMP 
MOD 




1 


O O O 1 




o o o a o 




I I I 




1 


® 










® ® ® 


® 


MOD IN 










MODULATION INPUTS 


MOD IN 


KEYRANGE 


OSCILLATOR 3 




OSCILLATOR 4 




MULTI MODE FILTER 


TONE 


HIGH 
NOTE 


WAVE VEL 
SELECT OCTAVE TUNE TONE HIGH 




WAVE VEL 
SELECT OCTAVE TUNE TONE HIGH 


MODE FREQ RESO KBD ATTEN 


FREQ 


o 


O 




o o o o o 


o o i 





LOW 
NOTE 


VEL> VEL 
START LEVEL PAN KBD LOW 




VEL> VEL 
START LEVEL PAN KBD LOW 


MOD 1 MOD 2 MOD 3 


SLOPE 





O 1 




O O 1 o 



I I I 















® ® ® 

MODULATION INPUTS 






CONTINUOUS MIDI CONTROLLERS 


KEYBOARD PITCHBEND 


MODWHEEL PRESSURE VELOCITY EXTERNAL MIDI 


®®®®® ®®®®® ®®®®® ®® 


®®® ®®®®® ®®®®® 




MASTER CONTROL SECTION 


PITCHBEND 


GLIDE 


SEMITONE TUNING 




MASTER 
TUNE 


SOFT 
PEDAL 


OUTPUT SECTION 


UP DOWN 


TIME 


TEMPLAT 


E FINE 


ATTACK 


INDIV INDIV 
LOUD STEREO PAN UT LEVEL 


o 





C C# D D# >-■-< 

o o o o O 


o 


o 







MODE 








LOUDNESS 


MOD1 MOD 2 MOD1 MOD 2 MOD 3 


HELD PRESS 


i 


6 6 o 6 

KEY 


OCTAVE 




FILTER 




FXBUS FXSEND 


LEGATO 


I o 


i 


G# A A# B >~s. 

o o o o O 





o 


® ® ® ® ® O' o 














MODULATION INPUTS MODULATION INPUTS 



Across the top are the controller - the LFOs and envelope generators. Underneath those are 
the 'oscillators' (i.e. the four keygroup zones), the filters and amplifier. Below that are the 
continuous MIDI controllers and below those, the master control section for tuning, output, 
etc.. 

On such a synth, connection between the modules would be made using patch cords but on 
the S3200XL, of course, they are made in software using the APM functions. 



Page 296 



S3200XL Operator's Manual - Version 1.00 



APPENDIX 5 



MIDI CONTROLLER LIST 

The following is a list of the controllers that may be used as controllers within a program and 
which are selected in the main MIDI page in GLOBAL mode. 

Bank Select 

1 Modulation wheel or lever 

2 Breath controller 

3 Undefined 

4 Foot controller 

5 Portamento time 

6 Data entry MSB 

7 Main volume 

8 Balance 

9 Undefined 

10 Pan 

1 1 Expression controller 
1 2 Effect control 1 

1 3 Effect control 2 

14-15 Undefined 

16-19 General purpose controllers (#1 -4) 

20-31 Undefined 

32-63 LSB for values 0-31 

64 Damper pedal (sustain) 

65 Portamento ON/OFF 

66 Sostenuto 

67 Soft pedal 

68 Legato footswitch (vv = 00-3F: NORMAL, 40-7F: LEGATO) 

69 Hold 2 

70 Sound controller 1 (default: Sound Variation) 

71 Sound controller 2 (default: Timbre/Harmonic content) 

72 Sound controller 3 (default: Release time) 

73 Sound controller 4 (default: Attack time) 

74 Sound controller 5 (default: Brightness) 
75-79 Sound controllers 6-10 (No defaults) 
80-79 General purpose controllers (#5-8) 

84 Portamento control 

85-90 Undefined 

91 Effects 1 depth (formerly External Effects Depth) 

92 Effects 2 depth (formerly Tremolo Depth) 

93 Effects 3 depth (formerly Chorus Depth) 

94 Effects 4 depth (formerly Celeste (Detune) Depth) 

95 Effects 5 depth (formerly Phaser Depth) 

96 Data increment 

97 Data decrement 

98 Non-Registered Parameter Number LSB 

99 Non-Registered Parameter Number MSB 

1 00 Registered Parameter Number LSB 

101 Registered Parameter Number MSB 
102-119 Undefined 

1 20-1 27 Reserved for Channel Mode messages 



S3200XL Operator's Manual - Version 1.00 Page 297 



APPENDIX 5 



ABOUT THIS MANUAL 5 

Analogue recording 257 

APM 21, 56, 297 ~ 

Assignable Program Modulation 21, 56 

Assigning effects, See EFFECTS 

AUDIO INPUTS 10 

Autopan 71, 184 

Autopan/FMOD effect 184 



Chorus effect 180 

Compatibility, See DATA COMPATIBILITY 

Connections 13 

COPY 

Keygroups 87 

Programs 61 

Samples 130 

Takes 252 
CURSOR KEYS 6 



DAT Backup/Restore 241-242 
DATA COMPATIBILITY 293 

Effects files 294 

ME-35T 294 

Multis 294 

S1000/S1 100 compatibility 293 

Songs and Qlists 294 

Sound data 293 
DATA ENCODER 6, 17 
DATA ENTRY/ 7 
DELETE 

Keygroups 87 

Programs 32 

Samples 32, 131 

Takes 252 
Deleting programs 32, 62 
DEMO DISKS 14 
DEMO SEQUENCE 14 
DIGITAL I/O 11 
Digital recording 126, 258 
DISK ACTIVITY LED 8 
DISK EJECT BUTTON 8 
DISPLAY CONTRAST 7 
Distortion effect 176 
Doppler shift effect 184 



Echo effects, See EFFECTS EDIT 
EDIT PROGRAM 52 

Amplitude modulation 69, 114 

Amplitude shaping 101 

Copying 61 

Deleting programs 62 

Edit Multi 116 

Edit Multi differences 117 

Edit Multi screens 117 

Edit Single 60 

Envelope 1 101 

Envelope 2 103 
EDIT PROGRAM (cont) 



Envelope 3 113 
FILTER 98 

Filter 2 modulation 108 

Filter 2 resonance 107 

Filter 2 types 105-106, 107 

Modulation 100 

Resonance 99 

Tone control 7 7 7 
KEYGROUP 

Amplitude modulation 114 

APM 56 

Assigning samples 92 

Assigning stereo samples 92 

Copying 87 

Creating 87 

Crossfade 55 

Deleting 87 

FX Send 87, 169 

Individual output 95 

Layering 54, 93 

Level 95 

Mapping 90 

Mute Group 87 

Pan 95 

Routing to FX 87, 169 

Selecting 89, 94 

Tuning 95 

Velocity crossfade 54, 92 

Velocity switch 54, 92 

Velocity to sample start 97 

What is a keygroup 53 

Zones 54, 93 
MODULATION 

LF01 76 

LF02 80 

Pitch bend 74 

Portamento 84 

Soft pedal 83 
Naming 61 

OUTPUT See also SINGLE mode - MIX 
page 

Amplitude modulation 69 

Individual 68 

Level 68 

Loudness 69 

Pan 68 

Velocity sensitivity 69 
Pan modulation 71 
Pitch modulation 114 
Span 90 
EDIT SAMPLE 128 

Chop/Cut/Extract 154- 155 
Copying 130 

Crossfading samples 158 
Cut 133-134 
DSP 142 

Digital EQ 148-150 

Re-sampling 146-147 

Timestretch 142-145 
Fade in/out 160 
Gain normalisation 141 
Gain re-scaling 141 
Join 157-159 
EDIT SAMPLE (cont) 



Page 298 



S3000XL Operator's Manual - Version 1.00 



APPENDIX 5 



LOOP 

AT point 137 

Auto looping 137, 140 

Crossfade length 137 

Crossfade looping 137, 140 

FIND function 137, 140 

Loop length 137 

Loop select 136 

Loop time 136 

Loop tune 152 

Loop type 151 

Making a good loop 139 
Looping 136-140 
Mixing/layering samples 158 
Naming 130 
Pitch 151 

Program monitor 128 
Renaming 130 
Reverse 153 
Sample End 133 
Sample Start 132 
Sectional editing 154 
Splicing samples 157 
Trimming 132-135 
Tuning 151 
Zoom in/out 134 
EFFECTS 162 

Assigning effects to keygroups 169 
Assigning effects to MULTI parts 40, 167 
Assigning effects to programs 26, 68, 

165 
Chaining 172 
Effects file 164 
Effects flowchart 163 
Effects presets 164 
External input page 171 
FX1 , FX2, RV3, RV4 162, 164 
Multi-effects 162 
Muting effects 174 
Output assign 171 
Processing external sounds 170 
Reverb presets 164 
EFFECTS EDIT 

AUTO-WAH EFFECTS 177 
Copying effects 204 
DISTORTION/RING MOD 176 
ECHO EFFECTS 

Mono echo 188, 190 

Ping Pong echo 191 

Stereo echo 189, 193 

XOver echo 188, 192 
EQ 177 
MODULATION EFFECTS 179 

Autopan/FMOD 184 

Bypass 187 

Chorus 180 

Flanging 179 

Phase shift 179 

Pitch shift 185 

Pitch shift+feedback 185 

Rotary speaker 181 
Multi-effects 175 
EFFECTS (cont) 
OUTPUT 200 



Levels/Pan 200 
Path control 201 
REVERB 194 

Decay time 194 
Gated reverb 1 198 
Gated reverb 2 198 
Reverse reverb 197 
Soloing effects 203 
ENT/PLAY KEY 6, 19 
EQ 177 

Filter 2 mode 106 
Sample 148-150 
EQ effect See EFFECTS EDIT 
Expanding the memory 295, 296 

F 

FEATURES 2 

FILTER 2 See EDIT PROGRAM 

FILTER RESONANCE See EDIT PROGRAM 

FILTERS See EDIT PROGRAM 

Flanging effect 179 

FLASH ROM 296 

FLASH ROM - Installation, See 

INSTALLING OPTIONS 
FLOPPY DISK 7 

Activity LED 8 

Eject button 8 

Inserting/ejecting 8 

Loading 30 

Taking care of 8 

Write protect 8 
FLOPPY DISK DRIVE See FRONT PANEL 
FOOTSWITCH INPUT 7 
FORMATTING DISKS 

Floppy 214 

Hard disk 216 
FRONT PANEL 6 

Cursor keys 6 

Data encoder 6 

Display contrast 7 

ENT/PLAY key 6 

Floppy disk drive 7 

Footswitch input 7 

LCD 6 

Main volume 6 

Mark/jump keys 6 

MO Drive slot 7 

Mode keys 6 

Name key 6 

Numeric keypad 6 

Phones output 7 

Power switch 7 

Record level 6 

Soft keys 6 
FX1, FX2, RV3, RV4 See EFFECTS 



S3200XL Operator's Manual - Version 1.00 



Page 299 



APPENDIX 5 



GAIN SWITCH 10 
GETTING AROUND 16 
Entering data 17 
Mark/Jump keys 18 
Operating modes 16 
Selecting parameters 17 
GLIDE See PORTAMENTO 
GLOBAL 232 

DAT Backup/Restore 241-242 
HARD DISK RECORDING 246-280 

Applications 246 

Chaining takes 273-276 

Copying takes 252 

Creating takes 252 

DAT backup 278 

DAT restore 279 

Deleting takes 252 

EDITING 260-262 

Discarding audio 261, 262 
NOW time 260 
Take end point 260 
Take start point 260 
Trimming a take 261 
Zoom In/Out 260, 261 

Features 246 

Formatting disks 247 

Loading songs 277 

MIDI Triggering 270-272 

Naming songs 277 

Naming takes 252 

PLAYBACK 263-266 
Fade In/Out 263 
Level/Pan 264 
MIDI Triggering 265 
Output assignment 264 
Play page 265 
Playing takes 263 
Priming takes 265 
Start type 263 
Syncing takes 266 
Varispeed 263 

Recording 253-259 

Recording analogue 257 

Recording digitally 258 

Recording digitally - warnings 258 

Renaming takes 252 

Saving songs 277 

SONG 267-269 

Block editing 275 
Creating 267, 268 
Fade in 267 
Fade out 268 
Keypad shortcuts 274 
MIDI Note/Channel 267 
Pan 267 
Parameters 267 
Playing a song 273 
Step repeat 268 
Take level 267 

Using the DD functions 250 
Master output level 232 
ME-35T programming 239-240 



GLOBAL (cont) 

MIDI functions 233-238 
SMF 

Loading SMF's 244 

Playing SMF's 244 

Song play 243 

Using the SMF function 245 
Tuning the S3000XL 232 

H 

HARD DISK RECORDING See GLOBAL 

HF Damping 190 

How the S3000XL works 21 

I 

INDIVIDUAL OUTPUTS 11 

INSTALLING OPTIONS 295 

Flash ROM 296 

Memory configurations 296 

Memory expansion 295 

SIMMs memory 295 

K 

Keyboard splits 35, 50 
KEYGROUP See EDIT PROGRAM 



UR OUTPUTS 11 

Layering programs 35, 49 

LCD 6 

LCD CONTRAST 19 

LF01 See EDIT PROGRAM - MODULATION 

LF02 See EDIT PROGRAM-MODULATION 

LOAD 218 

Autoloading 223 
Directory 226 
FIND function 224 
From floppy 220 
From hard disk 221 
HARD DISK control 229 
Other manufacturer's data 230 
S1000/S1 100 data 223 
S900/S950 data 223 
Searching for files 224 
Selecting floppy/Hard disk 218 
Selecting the hard disk partition 218 
Selecting the hard disk volume 219 
Selecting the type of load 219 
Tagging system 226 

LOOPING SAMPLES See EDIT SAMPLE 

M 

MAIN VOLUME 6, 20 

MARK/JUMP keys 6, 18 

MEMORY - Installation, See INSTALLING 

OPTIONS 
Memory configurations 296 
MIDI 27 

Connections 12 

Controller list 298 

Global functions 233-238 
MIDI (cont) 

IN/OUT/THRU 12 



Page 300 



S3000XL Operator's Manual - Version 1.00 



APPENDIX 5 



Monitoring 234 

Multi part channel 40 

Program change 25, 37 

Program channel 27 

Sample dump 236 

Song files 243-245 

Take channel 264 

Triggering takes 265, 266, 267, 270 
MO DRIVE SLOT 7 
MODE KEYS 6 
Mono echo effects 190 
Mounting the S3000XL 15 
MULTI 39 

Assigning programs to outputs 41 

Assigning programs to parts 40 

HI/LOW keyranges 41 

IMPORTANT NOTES 48 

Initialising parts 42 

Key splits 50 

Layering programs 49 

Loading 45 

Mixing the parts 40 

Modifying 44 

Naming 45 

Part priority 42 

Renumbering programs 46 

Saving 45 

Sending parts to the effects 40 

Setting the part's MIDI channel 40 

Setting up 43 

Transposing parts 41 

Tuning parts 41 
MULTI EDIT See EDIT PROGRAM 
Multi-sampling 52 
Multi-timbral setups 36, 39 
MUTE key See EFFECTS 
Muting effects 174 

N 

NAME KEY 6, 19 
NAMING 

DD Takes 252 

Disk files 211 

Disk volumes 211 

General 19 

Multi 45 

Naming samples 120, 123 

Program 61 

Renaming DD takes 252 

Renaming samples 130 

Samples 130 

Songs 277 
Normalise gain See EDIT SAMPLE 
NUMERIC KEYPAD 6, 17 



Output level 6, 20, 232 



Phasing effect 179 
PHONES OUTPUT 7 
Ping-pong echo effects 191 



PITCH BEND See EDIT PROGRAM- 
MODULATION 

Pitch shift effects 185 

PORTAMENTO See EDIT PROGRAM- 
MODULATION 

Power connection 12 

POWER SWITCH 7 

PROGRAM EDIT See EDIT PROGRAM 



REAR PANEL 10 

Analogue inputs 10 

Digital I/O 11 

Gain switch 10 

L/R outputs 1 1 

MIDI 12 

SCSI 11 

SMPTEi/o 7 7 
RECORD See SAMPLE 
RECORD LEVEL 6, 20 
Renumbering programs 34, 46 
RESONANCE See EDIT PROGRAM 
Reverb effects 194 
Reverb only effects, See EFFECTS 
REVERSE See EDIT SAMPLE 
Reverse reverb effects 197 
Ring modulation effect 176 
Rotary Speaker effects 181 

s 

SAMPLE 118 

Deleting samples 131 
Naming new samples 123 
RECORD 

Digital recording warnings 126 

Duration 121, 124 

Input monitor 125 

Input select 121 

Level meter 125 

Monitor select 121 

Pitch 121, 124 

Record levels 125 

Recording analogue 125 

Recording digitally 126 

Setup page 120 

Start method 121 

Stereo/Mono 120, 124 

Threshold level 125 
RECORD page 123 
Renaming samples 120 
Sampling rate 118, 121, 124 
Saving record parameters 122 
What is sampling? 118 
SAMPLE EDIT See EDIT SAMPLE 
Sampling rate 118, 124, 250, 263 
SAVE 206 

Deleting from disk 212 
FORMAT 

Floppy disk 214 

hard disk 216 
Hard disk control 213 
Renaming files 211 
SAVE (cont) 



S3200XL Operator's Manual - Version 1.00 



Page 301 



APPENDIX 5 



SCSI 213 

Selecting floppy/hard disk 206 

Selecting the hard disk partition 206 

Selecting the type of save 206 

Selection the hard disk volume 206 

To floppy 208 

To hard disk 209 

To S1000/S1 100 disks 217 
SCSI 11,213,229,291 
SCSI CONNECTIONS 290 

Cable length 292 

Connecting hard disks 291 

SCSI Cables 291 

Termination 291 
Setting up the S3000XL 13 
SIMMs 296 
SINGLE 25 

Deleting rpograms 32 

DISK 30, 31 

Load from floppy 30 
Load from hard disk 31 

Loudness/Velocity 29 

MIDI parameters 27 

Old Akai SELECT PROG mode 25, 35 
Keyboard splits 35 
Layering programs 35 
Multi-timbral setups 36 

Program level/pan/FX send 26 

Renumbering programs 34 

Selecting programs 25 

Single Vs Multi 37 

Viewing programs 26 
SMF Song play 243 
SMPTEI/O 11 
SOFT KEYS 6, 16 
Stereo echo effects 189, 193 
Synth panel 297 



TAKES See GLOBAL-HARD DISK 

RECORDING 
TIMECODE See SMPTE 
TIMESTRETCH See EDIT SAMPLE 
TRIMMING SAMPLES See EDIT SAMPLE 
TUNING 

Keyg roups 95 

Loop 152 

Multi part 41 

Program 73 

S3000XL 232 

Sample 151 

Zones 95 

V 

Velocity sensitivity 29, 69 
VIBRATO See LF01 



ZONE SeeKEYGROUP 

Zoom In/Out 134, 136, 137, 154, 160, 260 



Page 302 



S3000XL Operator's Manual - Version 1.00 



SPECIFICATIONS 



SPECIFICATIONS 

Model Name 

Sampling Data format 
Sampling rates 

Sampling time 

(unexpanded memory) 



Internal Memory 

Polyphony 

Maximum number of Samples 

Maximum number of Programs 

Filter 

Envelope generators 

LF.O 

Display 

Diskette drive 

Connectors 
RECIN 

STEREO OUT 

ASSIGNABLE OUTS 
HEADPHONES 
FOOTSWITCH 
MIDI 

SCSI Interface 

AES/EBU digital IN/OUT 

SMPTE time code IN/OUT 

REC GAIN 

Power Requirements 

Dimensions 

Weight 
Accessories 



Optional Accessories 
FMX 008 
HS-D650 



MIDI Stereo Digital Sampler S3200XL 

16-bit linear encording 

44.1 KHz (20 Hz~20 KHz audio band width) 
22.05 KHz (20 Hz~1 KHz audio band width) 

3 minute 07 seconds - mono Fs=44.1 KHz (187.24 sec) 

6 minute 14 seconds - mono Fs=22.05 KHz (374.48 sec) 

1 minute 33 seconds - stereo Fs=44.1 KHz (93.62 sec) 

1 minute 07 seconds - stereo Fs=22.05 KHz (187.24 sec) 

16 Mbyte standard, expandable to 32 Mbytes using 72 pin SIMMs. 

32 Voices 

255 

254 

Digital dynamic low-pass filter (-12 dB/octave with resonant) 

3 x digital Envelope generators (1 multi-stage) 

2 x Multi Wave Low Frequency Oscillators 
Backlit 320 characters/240 x 64 graphic LCD 
3.5" dual density drive (2HD, 2DD) 

2 x XLR (balanced) 

2 x 1/4-inch phone (balanced) 

2 x XLR (balanced) 5.0 dBm/600 £1 

2 x 1/4-inch phone (unbalanced) 5.0 dBm 

8 x 1/4-inch phone (unbalanced) 7.5 dBm 

1 x 1/4-inch stereo phone 

1 x 1/4-inch phone 

3xDIN5P(IN, OUT, THRU) 

1 x 25P D-sub 

2 x 1/4-inch phone (balanced) and Optical input/output 
2 x 1/4-inch phone (balanced) 

HI-56 dBm, MID-37 dBm, LO-15 dBm 

1 20 V AC 60 Hz 45 W for U.S.A and Canada 

220-230 VAC 50 Hz for Europe 

240 VAC 50 Hz for Australia 

483W x 1 33H x 41 (*429) Dmm (EIA 2U size) 
(*) maximum 

8.8 Kg 

Ac power cable 1 

Sound Library Disks 2 

SMF Sequence Disk 1 

Modular Editing System Disk (for Macintosh™) .... 1 
Operator's Manual 1 

8 Mbyte flash memory board 

3.5-inch MO disk drive set for S3200XL 



Above specifications are subject to change without prior notice. 



S3200XL Operator's Manual - Version 1 .00 



Page 303 



S3200XL MIDI IMPLEMENTATION CHART 



S3200XL MIDI IMPLEMENTATION CHART 



Date: MAY. 1995 



Function 


Transmitted 


Recognized 


Remarks 


Basic Default 
Channel Changed 


X 
X 


1 
1-16 


Without disk 
Memorized (disk) 


Default 

Mode Messages 
Altered 


X 

************ 


Mode 3 

Mode 1-4 

OMNI ON/OFF, P/M 

X 


Without disk 
Memorized (disk) 


Note 

Number True Voice 


X 

************ 


21-127 
4-127 




Velocity Note on 
Note off 


X 
X 


9nV=1-127 
X 8nV=1-127 


Release Velocity 


After- Key's 
touch Ch's 


X 
X 


X 





Pitchbend 


X 





0-24 semitone steps 
(8-bit resolution) 


Control 1 

Change 2 

4 

7 

64 
67 


X 
X 
X 
X 
X 
X 










Modulation wheel 

EWI Breath controller (*1) 

Foot switch controller (*1) 

Volume 

Sustain pedal 

Soft pedal 


Program Change 

True No. 


X 

************ 


1-128 


by Preset number 
Value 


System Exclusive 








AKAI ID : 47H 
S3200XL ID : 48H 


System Song position 
Common : Song select 
Tune 


X 
X 
X 


X 
X 
X 




System Clock 
Real time : Commands 


X 
X 


X 
X 




Aux 
Messages 


Local ON/OFF 
All Notes OFF 
Active Sense 
Reset 


X 
X 
X 
X 


X 

0(123) 

X 

X 





Mode 1 : OMNI ON, POLY 
Mode 3: OMNI OFF, POLY 



Mode 2: OMNI ON, MONO 
Mode 4: OMNI OFF, MONO 



0:Yes 
X: No 



(*1) Use external Modulation. 



Page 304 



S3200XL Operator's Manual - Version 1 .00